You really have to applaud Birdy for covering some gargantuan ‘indie’ songs and technically passing them off as her own material. You know what they say, ‘good artists borrow, great artists steal’ and Birdy is a perfect example of this, although I don’t think you could class her as a great artist, not yet. Although she’s managed to get Bon Iver’s heart wrenching emotional journey of a song, 'Skinny Love', into the charts and more accessible, it also poses a bigger question, is she stripping these bands and artists of their artistic integrity by outselling them with her own versions?

What’s the most worrying about Birdy’s self titled debut full length is that she’s stripped the emotion out of the songs. These aren’t her emotions, and you can hear it in every movement of her voice, she’s not come on the emotional journey that these artists have overcome to write the songs she’s covering. At points on the album, it’s almost as if she’s on X Factor and she’s chosen these songs to sing each week and she doesn’t connect with the real message behind the songs. There’s no denying that she has a fragile and soulful voice but why not use that voice to create true emotion with original musical output? Covers can only take you so far and I think that Birdy would have fared a lot better with her own material, which I can imagine to sound somewhere in between Adele and Ellie Goulding.

It’s Birdy’s cover of The National’s ‘Terrible Love’ that bugs me the most though. Where Matt Berninger’s voice has raw and poignant emotion within his capturing vocals, Birdy just relies on the technicalities of her voice to carry the song along and it comes off sounding almost monotone at points. For fans of The National, there’s a stark contrast between the two but not in a good way; as earlier said, the emotion has been completely stripped out of the song, losing the connection between the song and the listener. At least in ‘Skinny Love’, there is a hint of connection and many people obviously saw a spark in Birdy from this cover but there are few moments on the album that match that connection.

There’s almost an Adele quality to this album with the constant need to be tugging on the listener’s heartstrings and evoking an emotional reaction from this stunning voice that produces these tearstained melodies. That overbearing struggle for constant emotion grows weary after the first two songs and it’s actually the more upbeat ‘White Winter Hymnal’ cover of Fleet Foxes that sounds more authentic and has a certain charm that makes you think of people running around in the snow, laughing and throwing snowballs at their friends before they go home to sit in front of a warm fire.

Birdy is a challenging debut album from Jasmine Van den Bogaerde, showing that covers can often fall flat and you really need to take yourself to that place where every word is meant. This is starting to feel a little bit like a critique comment on X Factor for my liking so let’s remind ourselves that I am not Louis Walsh (and never want to be). There’s hope yet for Birdy but I’m sure her true potential lies within original material. At least Birdy doesn’t live up to her name and ‘tweet tweet’, unlike Eliza Doolittle.