Regular readers might recall that we connected with the brilliant North East British songwriter Jodie Nicholson recently for one of our On The Record interviews, where we carve out space to highlight the most promising names on our radar right now. With a stream of her ‘What If’ single, we teased the rapidly approaching release of her highly anticipated album. Now, we no longer need be on tenter hooks as the record has arrived! Titled Safe Hands, this collection of twelve tracks is a gorgeously inward looking exploration of the heart. Nicholson transposes her personal experiences through these divine songs, framing it all through prisms of escapism, nostalgia, self-reflection, and change.
Before we delve further into the album, Jodie Nicholson shares this special message: “The concept of being in ‘safe hands’ really spurred me on throughout the making of this record as a reminder that I can actually do these things: I can be the sole-producer, I can record in a recording studio and I can collaborate with session musicians. It felt so right as the backbone for this body of work and chapter in my career as an artist and a producer, so naturally became the name of the album. It weirdly became a holistic outlook on the whole project.”
Safe Hands open with the exquisitely intimate ‘You Wanted This’, which starts with a mantra-esque reminder from the songwriter to herself that she wanted to be a musician, even though it can often be a love-hate relationship. The padded percussion and ebullient synths carry across Nicholson‘s understated vocals as they hover just above a near-whisper. It takes a subtle disco turn that is bound to entrance any listener. From there we enter the somnambulist world of ‘Bad Dream’. Carved out of simple piano chords, this track is a slow burning wonder that mediates the musician’s frustration and questioning. No doubt it holds multiple interpretations, although continuing the music industry theme, it’s no secret that women are still unfairly treated in the business, making it often feel like a game that can never be won. Nicholson‘s multiplicity continues to stun us as we venture into ‘Another Frequency’, a balanced minimalist electronic track that reminds us of early The XX, with the pop flair of Oh Wonder and the lilting harmonies of Carmody. It speaks to the disconnect that can occur in any of our relationships; people drift apart and so this upbeat number reminds us of the bittersweet beauty of life’s changes.
Continuing the artful minimalism of her carefully crafted production, ‘Pity You Had To Leave’ conveys Nicholson‘s pop prowess. Her voice is so controlled, delivering line after line of cutting emotional intelligence that’s as relatable as it is catchy. As we approach the halfway point on the album, a flourish of the songwriter’s acoustic roots makes an appearance with softly strummed guitars and resonant piano chords. Through ‘Embers’, she stokes the smoldering remains of what once was. Her closed vocal tone is embedded with bitter regret and a sense of searching comes through in the repeated questions, “where do we go when it all falls down? where do we go when it all crumbles?” Once again, she provides the space for the listener to impart their own trials and perhaps find solidarity, if not some clarity. In subtle contrast, ‘Situation’ is a more soulful, flowing, and open sound with rhythmic vocals, rich chords, and a toe-tapping beat. Nicholson really is the master of the slow-burner, she always manages to build up that sense of anticipation and drives home that emotive catharsis.
Worth mentioning here is of course ‘What If’, the song that first pulled us onto the Jodie Nicholson band wagon. It’s such a lovely combination of chamber-pop and alt-pop, one that we won’t tire of listening to. Next up is ‘Starlight’, a tender and intimate moment running just over two minutes, and yet the pocket-size track feels immense in its emotional intensity. This vulnerability carries on through into ‘Here I Am‘, itself filled with further “what ifs” and “maybes” as the songwriter comes to realise that it wasn’t outside validation she needed all along. It’s true that we often seek solace in others when seeking to resolve our own insecurities. In this way, this song hols such a powerful message. Extending on from this theme of self-actualisation, ‘Limit’ is a resplendent ode to radical honesty. Over undulating piano and tapping percussion, Nicholson’s voice rises to its most bold presentation yet as she confidently states, “I’ve reached my limit.”
The album’s penultimate track ‘Love, I’m On Fire’ encapsulates everything that this new era of Jodie Nicholson is about. Oscillating synths, cool-toned percussion, sensitive piano, and tender lyrics. Her vocals sound a little shaky due to the emotionality of the track, something that naturally occured in the studio and has been left to really translate the authenticity of her music. It’s the poignant zenith to what has already been a thoroughly impressive record. Closing out Safe Hands is the evocatively titled ‘Flesh & Blood’, an eloquent ode to nature and the cyclical nature of life. This final chapter is a warm invitation to wander through Nicholson’s musical world, whether that be in this album or future ones to come.
The album was recorded and self-produced at Blank Studios in Newcastle, with assistance from Oli Deakin for mixing and Katie Tavini for mastering. This landmark release will also be coming to live stages throughout the UK, so be sure to check out Jodie Nicholson‘s live dates to not miss what’s sure to be a mesmerising showcase.
You can also listen to ‘Love, I’m On Fire’ in our Shades of Pop playlist.
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