Oftentimes albums are a direct reflection to the artist’s array of emotions during the creative process, so much so that they may never do anything quite like this ever again. No Words Left is exactly that; Lucy Rose had a rough year, resulting in an album brimming with urgency, turmoil and reflections.

Lucy’s career started in her late teens when she met Bombay Bicycle Club frontman, Jack Steadman, and began collaborating with the band performing backing vocals on various songs. Her debut Like I Used To fits perfectly within the quaint indie vibe of the early 2010s, and while her second album slipped between the cracks, her third album Something’s Changing was more interesting. Prior to its release, as a way to be more independent in her career, she got out of her record deal with Columbia Records and toured much of South America with the aid of her Latin fanbase, who booked gigs for her and provided accommodation. Upon returning to the UK she signed with Communion, who released Something’s Changing and now No Words Left.

In No Words Left Lucy Rose is tearing open the walls of her emotions, using the process of creating music as a form of therapy (she even thought about calling the album Everyone Needs Therapy). In album opener ‘Conversation’ she depicts the ambiguity of love, a tale as old as time where the one who loves you most hurts you most. In piano led ‘Solo(w)’ Lucy reflects on a fleeting relationship, where you are left feeling more alone than by your lonesome, the unexpected sax brings in a new dimension to a song that falls flat otherwise. ‘Treat Me Like A Woman’ is a #MeToo era track where everyday sexism is perfectly illustrated; Lucy explains of the song: “It’s about sexism minutely infiltrating life from all angles all the time. But because we're used to it, we're unaware of it in a way but also aware of it because it changes the way you see yourself. It's a whole society thing, it's everywhere, it's living and breathing in absolutely everything we do on a smallest thing.” In ‘Confines Of This World’ London is the main protagonist, as the city which saw her grow from an artist en devenir to an established artist; it feels isolating while remaining beautiful, a constant story of love and hate.

‘Song After Song’ wraps up the album in a bittersweet moment where Lucy is faced with “the girl next door,” who does everything better than her and leaves her “feeling blue.” In this duality Rose finishes an album full of contrasts which never really reaches completion.

The growth Lucy Rose has experienced since her debut album is self-evident, she tackles universal feelings with unmistakable poetry, and while at times the album can feel drowned out, the overall feeling is one of understanding. She starts to understand herself as an artist and human being, while her listeners understand her - and possibly themselves - through the hardships she sings about, which are universal. Ultimately, No Words Left is a mirror Lucy Rose holds up to herself, and the world.