Four syllables that have fast become a household name, Dua Lipa has released her highly anticipated, twice postponed, eponymous debut album in the UK this week. The British born singer/songwriter of Kosovar-Albanian heritage has been making waves across Europe and the greater globe since she began working on her first album in late 2015. The talented model turned songwriter demonstrated a natural spark for pop with early cuts including ‘New Love’ and the thrilling ‘Last Dance’.

Describing her own music as ‘dark pop’, Dua brings the downhearted to the dancefloor throughout this eponymous record. Recently while speaking to the New York Times she commented “heartbreak makes good stories, so sometimes, as much as heartbreak sucks, it makes for good writing,” and channelled a similar pain into her first breakout hit ‘Hotter Than Hell’. Instead of writing about how she was mistreated, Dua flips perspective and writes from a place of strength combining simmering attitude of idols Rihanna and Christina Aguilera with the sultry growl of Spears’ ‘Gimme More’.

With heavy-hitting singles puncturing the tracklist of this first offering, there was slight apprehension that the record may follow the tremulous traditions of albums such as Rihanna’s Unapologetic, Spears’ Britney Jean, et al, which are essentially a couple of hits and a whole lot of filler. These fears are cast asunder by the polished introduction to opener ‘Genesis’, Dua’s husky vocal managing to make Sunday school sexy. The stadium stomper ‘IDGAF’ is a dormant hit, a bright indicator to the longevity of Dua’s chart domination, its gigantic chorus and memorable hook screams radio A-list whilst retaining a subtle cool.

Upon this mountain of pop, there are two clear summits, ‘No Goodbyes’ and ‘Be The One’. The former is a juggernaut teetering somewhere between the bliss of ‘Euphoria’ and the dance ecstasy of Garrix mega-collab ‘Scared To Be Lonely’. 2015 standout hit is one of the finest pieces of power pop released in recent memory. The uncertain calypso synth, rushing chorus and sophisticated lyrical structure sounds like an off cut from Robyn’s iconic Body Talk LP. There are also missteps here; ‘Begging’ feels too reliant on its production value and lacks a lyrical depth demonstrated elsewhere. Meanwhile inviting label mate Chris Martin to duet on album closer ‘Homesick’ feels like a grandfather/daughter Britain’s Got Talent audition; nobody wants it and very few understand it.

As the pop landscape changes and artists such as Shura, Carly Rae Jepsen and Lorde become bolder in structure, production and presentation it is assuring to see Dua Lipa has comfortably anchored herself in the category of pop innovator with this debut record.