Elly-May Barnes “No Good”
Elly-May Barnes’ presence in the Australian music industry began when she was a toddler. If one thing is certain, it is that she is anything but No Good.
Her debut album, No Good, is one created from passion. A desire for music, the artists, and the genres she loves while also reflective of who she is. Barnes, the youngest child of Jimmy Barnes, considers it to be a vulnerable piece of work. ‘There’s a lot of pieces of myself in there,’ she reflects.
Having grown up in the music industry surrounded by many a famous name in her inner echelon, Barnes called upon friends to assist with the creation of the album. Shane Nicholson and Mark Lizotte (Diesel) joined her to produce. While Neil Finn and Davey Lane (You Am I) co-wrote a handful of songs, placing No Good in good stead from the onset.
The album opens with the rocking title track and single, No Good. Pairing angelic vocals with a rock edge offers a pop-rock product ideal for mainstream consumption. Halo provides a slight change in tempo. It is reminiscent of the late 90s/early 00s indie-pop sound and is an enjoyable transition from the heavier opener.
With a charming melody and beguiling chorus, Love is Not An Option is a slow-burn grower. Crashes to Ashes returns to the rock with pop sentiments vibe via a structural simplicity that is effective in its approach.
Initially, Baby Don’t Slow Me Down, co-written with Lane, is surprising. With a Joan Jett 80s air about it, one could question whether it fits on the album. The answer is a resounding ‘yes’. Although left of the centre compared to the previous songs, it is more defining of the overall concept than initially supposed.
A haunting reimagining of Radiohead’s Creep is simply enchanting with sublime vocals by Barnes. However, the hazy daze it creates is abruptly broken with the disco-esque She’s A Thought, co-written with Finn. The transition into Leaving Eden is smooth and pleasant.
Being born into Australian music royalty comes with its advantages and challenges. Facing continuing comparisons with her dad, Barnes tackles this front-on with a modern reworking of Cold Chisel’s Twentieth Century titled 21st Century. With a 60s surfer feel, it is uniquely Elly-May instead of Jimmy. Keep Yer Eyes To Yourself similarly channels the era, making a pleasant coupling.
By contrast, No Jack of Hearts is a contemporary gem late in the album. Paired with Song to Bob, an ode to Bob Dylan, the two songs are album highlights. Though, their placement would be better suited mid-album after Creep for maximum impact.
At thirty-eight minutes, the twelve-song album is short, sharp and pointed. It highlights Barnes’ gorgeous vocal abilities, musicianship, songwriting talent and overall growth since she emerged in the 90s with The Tin Lids.
No Good is a stellar debut album for Elly-May Barnes. She has thrown everything and sundry into it across a variety of genres. Given the potential for inconsistency and lack of flow, it was risky. Nonetheless, she has successfully produced a solid representation of her authentic self.
Album Review By Anita Kertes
