George Ezra keeps the festival anthems and brooding contemplations coming in his candid new album, Gold Rush Kid

Most of us know George Ezra as relentlessly upbeat – his tracks flecked with the sort of infectiously cheerful frivolity which is mirrored as much in his hook-laden choruses as it in his decidedly more introspective forays. 

Off the back of two number 1 albums, a sticky couple of years globally, an OCD diagnosis, and his subsequent soul searching as he sought balance in the cutthroat industry – Gold Rush Kid sees him at his most personal to date.

The first half of the album comes as giddyly familiar as any of his tracks over the last eight years. The opening volley that is “Anyone For You” sets the tone with characteristic cinematic fervour, while “Green Green Grass” kicks up the dust with a funk-driven bassline set against the thematic backdrop of a raucous funeral. 

The title track navigates mental health struggles with a heady bassline at the fore, while “Manila” pulls on the travel tropes of his earlier work as he waxes lyrical on the flight suspension of 2020 (“No flights to Manila/ Lockdown Cinderella”). 

But the second half of the album veers into cushiony emotional territory, as Ezra drops his thumping festival anthems in favour of some saccharine sweetness bred to make you feel things. 

Sombre and moody he navigates self-sabotage and self-betterment alike (“I’ve Been Hunting”), the simplicity of first light during hard times (“In The Morning”), and even a cutesy little sugar-sweet ode to his future lover (“Sweetest Human Being Alive”). 

And all the while Ezra’s liquid baritone timbre lends unexpected verity to the occasional cliché or slapstick lyric. The whole thing remains suspended in a rippling undertow of conviction – and that right there, is what consistently puts Ezra a head and shoulders above the rest.

Feature pic supplied by artist