It starts off well. Daley brings out the big guns and we forgive his Jessie J dalliances as Jill Scott comes to join him for Until The Pain Is Gone. Based on his previous duets with the likes of Marsha Ambrosius, the young London talent shines as he receives an ideal foil for his brand of aching R&B.
The Spectrum is a bit of a surprise for a music world who may have all but forgotten this promising talent. And when Daley nails it, the album sings: Selfish is a brilliant, soaring confessional that’s certainly among one of his best, while Temple is a breathtaking slice of nocturnal R&B, the sort hard to find any more as it takes an unhurried tour of emotion.
And then it starts to go downhill. The name ‘spectrum’ starts to seem appropriate as Daley begins to superficially dabble in styles and genres with hardly any of it fitting. The Only One is as bland as soul ballads come, apparently preferring to act as sync-bait for TV and rom-coms than displaying any actual depth. It runs into On Fire and Second To None, which are essentially whiteboy soul come to life with very little to say.
It’s a shame really, given Daley has a great voice and a decent sensibility. The dark-rock of True is a welcome surprise even if it doesn’t quite land with it’s outdated approach; there’s final respite in the gorgeous The Fabric (For Richard) and the two-step Careless, but apart from that there’s very little to keep us excited about Daley. It’s all well and good delivering a Spectrum, but a little bit useless if it’s all the same colour of bland.