Inside the Jazz and Joy of Raye’s Newest Album

The album begins with "Intro: Girl Under The Grey Cloud," a hauntingly beautiful intro that sets the tone. As Raye speaks over a cinematic instrumental, you can almost see the album cover coming to life. The inclusion of her grandmother’s voice early on grounds the work in something deeply human.

That atmosphere carries directly into “I Will Overcome.” The track feels like a slow walk through a centuries-old mansion. It’s a vulnerable, diary-like confession that builds into a massive orchestral finale, almost like the gray clouds are about to break.

Raye isn't afraid to push the boundaries of genres. "Beware.. The South London Lover Boy" feels like it came straight from a West End musical, complete with choir arrangements and a surprising, upbeat shift in tempo at the end. It’s a toe-tapper that highlights her witty storytelling.

Then there’s "The WhatsApp Shakespeare," a track that feels quintessentially British. While the use of the notification sound and the title itself might risk feeling "dated" in a decade, right now it’s a brilliant, relatable slice of modern life. The piano-heavy hip-hop beat makes this the kind of track that brings out your "stank face" when the bass hits.

One of the most ambitious moments on the record is "Click Clack Symphony," featuring the legendary Hans Zimmer. Having a film-scoring legend on a jazzy pop album is the ultimate flex, and it pays off. After the melancholic, "Escapism"-reminiscent sound of "Winter Woman," this track serves as the turning point where RAYE rallies her friends to pull her out of the dark. The sound of actual heels clacking followed by Zimmer’s magical, fast-paced orchestration is a stroke of genius.

The album’s midsection explores a variety of textures:

• "I Know You're Hurting" creates space for reflection and introduces a rock-influenced beat drop. It’s almost sermon-like quality to the song that would translate powerfully in a live setting.
• "Life Boat" is the album’s dabble in EDM that feels like Raye is speaking life into both herself and the audience.
• "I Hate The Way I Look Today" is an abrupt shift into jazz. The saxophone adds warmth, and the closing reminder to “change the way you talk to yourself” creates a meaningful emotional arc to a beautiful, necessary part of her story.

The collaborations on the back half of the record are standout moments. "Goodbye Henry" (featuring Al Green) is a delightful, swinging track that feels like dancing in a sunroom in a flowy robe. Despite the "sad" subject matter, its appreciation for vintage sounds makes it feel timeless. “Nightingale Lane,” the album’s second single, showcases Raye’s stunning voice.

"Skin & Bones" is a seemingly 90s-inspired New Orleans bounce track where RAYE is at her most charismatic, listing literal organs over a church organ. “WHERE IS MY HUSBAND!” is undoubtedly the album’s absolute hit. It's a hilarious, catchy and desperate plea for her future husband to finally show up.

The emotional climax of the album comes to "Fields." Featuring her grandad Michael, the track is a personal, gospel-heavy moment that immortalizes her family history. It leads perfectly into "Joy," a praise break record featuring her sisters, Amma and Absolutely. It’s the sound of a woman who has found her center.

The album closes with "Happier Times Ahead" and the whimsical "Fin." Raye leans into the drama one last time, talking through the credits like a film director proud of her cast.

Overall, this project is unapologetically Raye. It’s grand, optimistic and deeply rooted in faith and family. It is a joy to follow her through the clouds and into the light.