In a State of Delirium: Oh My Goulding!

Image: @DJay95

“I got big dreams baby,” Hereford-born, multi-platinum singer-songwriter Ellie Goulding proclaims on album highlight ‘Don’t Panic’; and it’s easy to see why. The arrival of her third studio album Delirium marks a creative shift into big pop territory after releasing one of her biggest selling singles ever ‘Love Me Like You Do’ earlier this year, which impressively got to number one in 70 countries.

This record is where Goulding has realised her full potential with the help of super producers Max Martin, Greg Kurstin, Ryan Tedder and long time collaborator Jim Eliot, unleashing something that combines her distinctive vocal and acoustic electronics with radio-friendly pop hooks. Delirium is a record to speak highly about about because it has been such a journey to this point. Being a fan, I don’t think I can express how proud I am to see that the singer I’ve supported since 2009 has conquered on this massive arena-ready collection.

Going back to September of this year, I thought my luck had run out. After constant disappointments trying to meet my idol, I never thought that I would get the opportunity to talk to her about my admiration for her music and also just explain why I became a fan to begin with. Then, suddenly, luck struck… I received a message from her record label, after endless tweeting and support from my friends, inviting me to a secret album listening session in central London, which Ellie would also be attending. I have never shaken so uncontrollably, and in less than 24 hours I was in London with only 15 or so fans being the first in the United Kingdom to hear tracks from Delirium.

Highlights from this session were the fantastically catchy ‘On My Mind’, with sassy M.I.A.-like electronic claps and fast-paced, brutally honest lyrics. The Max Martin-produced tune was one that marked a new direction for Goulding; seeing her dazzle with a new found confidence, and embracing her pop sensibilities. Smooth 90s sounding euro-pop banger ‘Don’t Need Nobody’’ was also premiered, presenting Goulding ‘s experiment with loud club-ready beats and trap snaps. Instant grat single ‘Something In The Way You Move’ was also previewed. This track in particular is one that will now always be memorable for me, especially as a few weeks after this album listening session I was invited to appear in the lyric music video for it. Although I appeared in the video for only couple of seconds, being asked to dance to this infectious 80s sounding pop anthem was a true delight.

Image: @DJay95

Then suddenly luck struck… I received a message from her record label, after endless tweeting and support from my friends, inviting me to a secret album listening session in central London, which Ellie would also be attending

After playing a few more glistening tracks which I will later discuss, I finally had my moment with my idol. Walking into the room with an infectious smile and excitement for the record she was about to release, Goulding insisted that we all had some of the food and drink provided and that we sit in one circle asking any questions we desired. As a fan, this is something that you always dream about doing. After discussing with her plans for her upcoming arena tour, the influences behind Delirium, and my fan site Oh My Goulding (which she knew about!), we all individually stood up for photos with the singer and had the opportunity to get items signed. Goulding was particularly surprised as I pulled out a 7” vinyl copy of the first single she ever released in 2009, ‘Under The Sheets’. This was one that really signposted not only the beginning of my love for Goulding, but also electronic music, which she introduced me to.

Then came November, and the release of the album I had been waiting months to hear. The dazzling openers ‘Intro (Delirium)’ and ‘Aftertaste’, present how Goulding crosses the bridge from the melancholy ethereal sounds of second record Halcyon to newfound happiness on Delirium. With echoing vocals, huge drums and bold guitar rhythms, the track really is impressive and sees Goulding reflecting confidently on her past relationships.

On ‘Don’t Panic’, Goulding triumphs with Greg Kurstin’s bouncing pop beats, sparkling vocals and a superb lyrical content akin to Swedish singer Robyn. “When love’s not playing out like the movies, it doesn’t mean it’s falling apart”, emphasizes Goulding’s desire to not give up on love, which is similar to the lyrical theme on garage and techno tinged ‘Devotion’, an unexpected song from the British songstress.

‘Holding On For Life’ metaphorically illustrates a relationship in terms of life and death over reverberating vocals, wonky pop piano rhythms and gospel-like chants. “Hopelessly holding on, to all those perfect nights, let’s pretend it’s not gone, and say we’ll never die” emphasizes how, despite Delirium being a pop record, Goulding’s meaningful and authentic lyrics continue; once again crediting her ability to write love songs from a genuinely relatable perspective. This is also ever so present on the Max Martin co-write ‘Codes’, where Goulding contemplates labeling a relationship and the communication that goes along which such a thing. The track could easily be a hit single with its infectious tune and sing-along lyrics.

Goulding was particularly surprised with myself as I pulled out a 7” vinyl copy of the first single she ever released, ‘Under The Sheets’

Goulding also notably goes back to her more experimental, electronic roots on ‘Keep on Dancin’’ and ‘We Can’t Move To This’. The former is a moody dancefloor banger boasting infectious whistles and earthy beats, produced by Ryan Tedder. The latter showcases Goulding’s signature manipulated vocals over bouncy psychedelic pop thumps. Goulding also recollects her more guitar-orientated beginnings on the soaring ‘Lost and Found’; a beautiful and heartfelt pop song that would not sound too out of place on her debut record Lights. The album also showcases some of Goulding’s best ballads to date. On ‘Army’, a track written for her best friend Hannah, Goulding reminisces about a long-time friendship with someone she has grown up with, presenting glorious vocals and a choir backing on the final chorus. Additionally, on multiplatinum selling single ‘Love Me Like You Do’, Goulding sings one of the best power ballads in years, which will remain a romantic slow dance staple in years to come.

Image: Pablo Caro / Flickr

The album’s deluxe edition also possesses some real gems. Goulding plays with darker dance tones on the wavy Disclosure-produced ‘Heal’, utilizing drum-machine glitches and ambient trip-hop, and also on ‘Paradise’: a baroque pop and tehno crossover with orchestral sounding electronics and howling vocals.  However, the standard edition’s album closer ‘Scream It Out’ is the best ending to a sensational record.

It is quite simply a super pop anthem with the most chant-worthy and arena-ready chorus on the album emphasizing Goulding’s newfound confidence. “But lately I just need a voice I recognize…it’s perfect timing now”; and it is indeed. On her third record, Ellie Goulding has triumphed, finally embracing who she is as an artist. She was born to be a star, and this record is the perfect example of why. Sure, there could be improvements, but the premise of this record is that it is a game changer, and one that Goulding has taken extremely seriously – as shown in particular by the generous amount of material (22 tracks!). This record, combined with the memories I will always associate with it, has meant that Ellie Goulding has not only made the record of the year but has also made my “big dreams” come true.