So much happened between La Roux’s 2009 debut and this year’s follow-up. Two massive hits, a Grammy win… But also co-founder Ben Langmaid’s departure and Elly Jackson’s vocal problems, which left her unable to sing for a year. Rising expectations to match earlier success only added to the pressure. The future of La Roux’s second LP was shaping up so badly that some started to doubt if it’ll ever materialize. But it did, though on a slightly low-key note. That only makes Trouble in Paradise even more of a startling comeback album.

It’s concise and consistent, with not one filler among the nine tracks. 1980s are still La Roux’s main inspiration, but this album is a huge leap from its predecessor. It’s more diverse stylistically, and much warmer. Gone is the sterile production, with heavy synthesizers slightly reduced in favour of live instruments. Jackson’s trademark falsetto also appears to be less prominent than on the last record. But it shrills brilliantly in the chorus of the opening song, “Uptight Downtown”. The track is a nod to Bowie’s “Let’s Dance” era, while the lyrics reference the 2011 UK riots, specifically in London’s Brixton, where Elly lives.

The material generally has an understated sound, steering away from the formula of a hit song. Tracks with the biggest commercial potential are “Kiss and Not Tell” and “Sexotheque”, both with catchy melodies and sexually ambiguous lyrics. “Tropical Chancer” continues this cheekiness, boasting a breezy reggae/calypso arrangement, and a Grace Jones sample. Love ballad “Paradise Is You” is a very pleasant lo-fi moment sandwiched between two uptempo tracks. “Let Me Down Gently” is an epic number with a steady build-up and growing dramaturgy. Not only is it a highlight on this album, but also one of the best songs in La Roux’s repertoire.

The longest track “Silent Partner” is a synth-driven reference to the first album, built around a throbbing rhythm and going out on a hypnotic loop. The bitter lyrics are addressing Ben’s parting. But Elly proves that she’s doing perfectly fine one her own, making up for the long wait with a brilliant album. 🌕🌕🌕🌕🌕