Suki Waterhouse is back with another stunning series of songs, this time on her newest album, Loveland. It’s a powerful, liberating record that explores everything from what happens after falling in love to finding yourself. Made with collaborators like Aaron Dessner and Mick Fleetwood, Suki started working on it as soon as her sophomore album, Memoir of a Sparklemuffin, dropped. Even though the records were made in close succession, there’s an upgrade all around on Loveland – and boy, do we love it.
Loveland opens with ‘Back In Love’, and it’s immediately sharp and jaunting, throwing listeners at full throttle into the experience. Co-written with Natalie Findlay, it marks a shift towards an even more dance-infused direction than on MOAS and focuses on regaining your sense of self after an identity crisis. It’s also worth noting that Suki used to be a model – and her move from runway model to pop star has been gradual yet compelling.
‘Any Man’ follows, which is a bit of a tongue-in-cheek track centered around the predictability of male desire. As Suki sings that she could ‘make any man fall,’ she embraces exaggerated confidence that pairs well with the hazy guitars and retro feel. ‘Happy With It’ then explores the feeling of dissatisfaction in a relationship, marking a sharp turn away from the themes present on the previous track. It’s the first indication that the album has two sides to it – an ode to the excitement of being in love versus a tribute to the mundane aspects of everyday life that occur in a long-term partnership.
‘Notting Hill’ relies on a comforting foundational layer, much like the song, which centres around Suki’s feelings about London, where she spent her 20s. It features acoustic guitars and a gentle piano arrangement, centring around a different type of love to those found in romantic settings. The lyrics are juxtaposing, from ‘you got a cigarette instead / gosh you’re shameless’ to ‘I bring you breakfast back to bed / you’re my favourite flavour.’
‘Teardrops’ is weighted both instrumentally and contextually, unfolding as a reflection on change, self-acceptance and a search for meaning within oneself. ‘When I Get Drunk (I Want You Boy)’ is worth noting as one of the album’s most exciting tracks. Chasing the thrill of a desperate, chaotic romance, it balances vulnerability with unchecked desire, emphasising that despite the toxicity, the person being spoken of has a magnetism that’s difficult to shake. From an instrumental perspective, it’s great at building atmosphere – the intoxicating chorus and hazy melodies create a late-night type of sound.
‘Jukebox’ is an ode to New York and the experiences that it brings. From ‘meeting at Lola’s’ to ‘New York’s favourite chancer’ and ‘slow dance to the jukebox, doo-wop’ it’s funky, dramatic and slightly over the top. It feels like, on first listen, that it draws from eras past. ‘Seasons’ follows, and its more understated instrumentals give Waterhouse’s vocals a moment to shine through. A lot of the songs on Loveland have quite intense production, but on ‘Seasons’, it’s hard not to notice how enchanting her voice is in this softer environment.
‘Tiny Raisin ’ is a modern-sounding track, taking inspiration from both alternative and pop sounds. Exploring the theme that love isn’t perfect despite the perceptions of it – it can be chaotic, insane and imperfect even while the good moments exist. Driven by strong percussion (including congas and drums) and layered keyboards, it’s one of the more anthemic songs on the album. ‘Almost’ is a nostalgic song focusing on missing a foundational turning point in a romantic relationship, while ‘Puppy Dog Eyes’ reflects on a complex relationship that centres on misunderstanding, and to an extent, tragedy. ‘Puppy Dog Eyes’ is a highlight of Loveland in the sense that, because the lyricism is straightforward, it’s easier to feel the emotion behind it without needing to decipher anything.
The Mick Fleetwood appearance comes on ‘Morals,’ during which he contributes the drum aspect. It’s centered around the jealousy that comes with dating a celebrity, and is another slightly tongue-in-cheek track. Mick’s contribution came from ‘leveraging’ a previous collaboration, and his presence adds a stunning extra dimension to the track.
The title track is quite late on the album, coming in at 13 out of 14. The penultimate track is wistful and contemplative, and pretty deeply romantic. Its allure is hard to miss, and the bridge features some of the best moments on the album. ‘Weirdo,’ the closer, is an incredible way to end the album. It’s a clear love song to her partner, Robert Pattinson, exploring the small things she misses in their relationship as they navigate their separately hectic careers. Despite their schedules and long distance, the primary message is that they always come back together stronger.
Overall, Loveland is a step up for Suki Waterhouse. This LP is bound to satisfy both new and old fans (of which she has many, especially after her time on Daisy Jones and the Six). By exploring so many facets of relationships (of all kinds) on Loveland, Suki has proven that she is a consistent and brilliant artist by giving her audience something to relate to, regardless of where they stand in life right now.
