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Whether he is using his imagination or speaking from experience, he is engaged in a noble venture to articulate pain that many people would just rather not hear about. Rather, its multiplicity speaks to Dave’s expansive intentions. It underlines the fact that the primary impression left by WAAITT isn’t really a sonic one – there is no dominant sound here. Towards the end of Heart Attack, the music drops out and all that remains is Dave’s voice when the doleful piano returns, it feels superfluous. It is hugely distressing to hear as a stranger, let alone as a son. The outro is a recording of – presumably – his mother, who is utterly distraught, recalling the awful treatment she faced when she arrived in the UK and her devastation at the way life has turned out.
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What begins with In the Fire’s neatly devastating observation that “crime’s on the rise, hate’s on the rise / Feel like everythin’ but my mum’s pay’s on the rise” continues into a distressing account of his mother’s life on Heart Attack: “I was in intensive care when I was born, mummy fell down the stairs / Whether I was gonna live or not was somethin’ uncertain / I used the word ‘fell’, with the commas inverted.” The centrepiece of Psychodrama was Lesley, an 11-minute tale of a toxic relationship involving a woman he met on the train this time the subject is much closer to home. The abuse and exploitation of women is woven through its entirety. The immigrant experience often forms the bedrock of Dave’s lyrics but it isn’t the headline topic of WAAITT. Female voices – including R&B singer Snoh Aalegra and rapper ShaSimone – are all given extended airtime. On In the Fire – a gospel-butressed production involving London indie-electronic duo Mount Kimbie – Dave lets Ghetts, Giggs, Fredo and Manchester rapper Meekz all have their say before he appears. The album encompasses many different voices and Dave seems to be making a point of letting his collaborators put their own stamp on his songs.Īs on Psychodrama, the 23-year-old born David Omoregie enlists childhood friend Kyle Evans and J Hus affiliate Jae5 for production duties, but this time he swaps out his mentor Fraser T Smith – a stalwart who has worked with everyone from Craig David to Adele – for James Blake, an artist with his own distinctive sound: an eerie, digitally warped sadness.
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WAAITT is a diverse record in many respects: touched by Afrobeats, gospel, electronica, drill and R&B, its most recurring sonic feature is a series of mournful piano figures. However, Clash, with its UK rap froideur and fixation on Rolexes, does not feel representative of the album it is taken from – but then no track on it does.
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It was an instant hit – reaching No 3 in the charts – and now well on its way to summer pop ubiquity, a testament to Dave’s multifaceted pulling power. A cold, imperious ode to conspicuous consumption, its appeal is hypnotic rather than melodic, the beat characterised by a deliberate sonic flatness. Photograph: Publicity imageĪn early taste of Psychodrama’s follow-up, however, showed that Dave wouldn’t be hemmed in by expectations of worthiness: We’re All Alone in This Together’s (WAAITT) first single, the Stormzy collaboration Clash, barely mentioned politics. The artwork for We’re All Alone in This Together.