Some albums are explosive, with each track more infectious than the next, quickly earning a slot amongst your favourites. Some are silent works that take their time courting you until you give in, requiring your patience and perseverance. I have wondered for a while which of these two categories Lou Rhodes would fall in with her third solo album, "One Good Thing".

The strength of this album lies in Rhodes’ voice. It resonates gloriously from the first to the last track on the album, somehow both crystalline and creamy in texture. It possesses a hauntingly ethereal quality at times that is exemplified by ‘There for the Taking’, the first single from the album, and the celestial track titled ‘The More I Run’. Although the beauty in Rhodes’ voice is mainly due to its fragile and delicate nature, she also has the ability to turn on the power and exude force when a song requires, that is most noticeable on the track ‘It All’, which sees Rhodes switching between delicate and powerful vocals, as well as on ‘Circles’. Rhodes’ voice flows so naturally and effortlessly throughout the album that it came as no surprise that it was recorded over a two-week period through live takes and with minimal editing.

Rhodes’ lyrics are as strong as her vocals with lines such as ‘Life moves in circles / And so does my mind’ and ‘People dying every day / To prove their God’s the only way / What kind of paradise would favour some and some deny? / Why wait for heaven till we die?’. When both vocals and lyrics collide to create gems like ‘Melancholy Me’ and ‘Why Wait For Heaven?’, it is impossible not to praise Rhodes.


On many albums, the music and vocals are on a level playing field; they are both of equal prominence so to speak and are equally important to the listener. On this album, the music takes a backseat to the vocals. The instruments used are mainly acoustic guitars with occasional string sections and they act as the perfect canvas on which Rhodes’ voice can be colourfully splashed across. The tempo is kept with Rhodes’ rhythmical guitar strumming and so percussions are left out of the majority of the album, ensuring the tracks have a basic but elegant feel to them. Percussions are, however, used on ‘Circles’ and combined with Rhodes’ potent vocals they create a profound track that is strategically placed in the centre of the album. ‘Magic Day’ incorporates singing birds and even though I have previously discussed my annoyance at the use of birds in areas of music and poetry, I will let this one slide as their inclusion is perfectly justifiable on an album that sounds like spring mornings and autumn afternoons.

At times, it can feel like the album is flat-lining and the repetitive guitar strumming can frustrate. The string sections come in to help alleviate some of this frustration and you soon forget you were exasperated in the first place. After all, it is the simplicity of this album that allows it to be honest, reflective and soulful.


Rhodes has the ability to transmit a brittle emotion through "One Good Thing" that is as beautiful as it is piercing and eloquent. "One Good Thing" does not belong in either of the two categories mentioned above. It is neither explosive nor silent. It is not out seeking attention but at the same time, it does not require countless listens to be appreciated. It is as soulful as they come. An album of warmth, a tribute to summer daydreaming, pensive autumn afternoon walks and the soft spring sun.