Comebacks rarely follow a tidy narrative, and Ella Eyre’s is shaped not by industry theatrics but by something far more personal: vocal surgery. After years spent recovering, recalibrating, and quietly reconsidering her place in pop, Everything, in Time marks her first fully fledged return. It’s been more than a decade since Eyre’s unmistakable rasp first dominated UK charts, yet this album doesn’t arrive with a dramatic flourish; it feels more like a steady, deliberate re-entry from an artist determined to rebuild without rushing herself.
Eyre signifies her growth as both an artist and a vocalist across the album, showcasing a deeper, more polished tone that reflects her life experiences. Opening track “Space” presents a vibrant empowerment anthem with bright brass instrumentation, while “Head in the Ground” offers a warm, gospel-inspired rhythm that perfectly complements her matured voice.
The title track and “Red Flags & Love Hearts” merge vintage UK soul with contemporary pop, allowing Eyre to express confidence and vulnerability. Although echoes of Amy Winehouse’s influence are present, Eyre’s individual style keeps the sound distinctively her own.
Her experimentation is evident in tracks like “Kintsugi,” which embraces atmospheric synths and introspection, and “Ain’t No Love That Blind,” which introduces a rock-infused intensity. “High on the Internet” stands out as a relatable exploration of the pressures of performing in the digital age, delivered in a breezy, conversational manner.
Everything, in Time isn’t a headline-grabbing reinvention, but it doesn’t need to be. It’s a portrait of an artist emerging slowly and deliberately after a period of physical and emotional repair, reclaiming her voice, literally and figuratively, on her own terms. Familiar but sturdy, warm but cautious, it’s a comeback built on patience and self-trust. And if Eyre continues on this newly steady path, the real transformation may still be to come
