Nadine Shah – ‘Filthy Underneath’ album review: An introspective masterpiece
THE SKINNY: It has been four long years since the release of the last Nadine Shah album, 2020’s Kitchen Sink. On her latest effort, however, the Whitburn-born singer-songwriter has shown any naysayers that she certainly has not lost her signature charm. Featuring the truly incredible vocal performances that fans have come to expect, the album also contains some of her greatest attempts at songwriting thus far.
The four-year gap between releases was reportedly a concern for Shah, who feared that she may have been forgotten about in the intervening years. In many ways, though, those years were an essential element of Filthy Underneath’s brilliance. With various tracks on the album detailing the many personal struggles the songwriter has faced since Kitchen Sink, including the pandemic lockdown, the loss of her mother, and emotional turmoil that includes the breakdown of her marriage. That description, however, paints a fairly bleak, somewhat depressive picture of Filthy Underneath, which is not a fair ruling. Yes, there are many heartbreaking, emotional moments within the tracklisting, but there is also an unmistakable feeling of love and celebration.
Filthy Underneath is the inaugural release of the new imprint EMI North, a pioneering effort by EMI to geographically diversify the music industry, which has always been traditionally based in London. You would be hard-pressed to find any artist better suited to the role of producing the first EMI North release than Shah. Born in Whitburn, just north of Sunderland, the singer is undoubtedly one of the northeast’s finest musical exports. She even explores missing the region on tracks like ‘Sad Lads Anonymous’. Amid a musical landscape of artists putting on phoney American accents, it is always refreshing to hear somebody sing in their own voice, which Shah does with characteristic grace.
For an album awash with complex emotions and self-reflection, Filthy Underneath – Shah’s fifth studio record – has an undeniable groove to it. There are few artists that could so perfectly toe the line between danceability and existentialism, speaking to the diversity of Shah’s talents. Typically, album reviews like this tend to make a conscious effort to remain balanced, providing a voice to both sides of the argument. However, when the worst thing you can think to say about an album is ‘the cover art is not particularly great’, there is little point in trying to remain balanced. Filthy Underneath is nothing short of a masterpiece and will likely go down as one of Shah’s most beloved releases.
For Fans Of: Sitting on the bus on a rainy day, looking wistfully out of the window and pretending you are the subject of a heartbreaking coming-of-age film.
A concluding comment from a Heavy Machinery operator: “ An almost dangerously captivating album. Poses a threat to anyone who might be tempted to listen while attempting anything at all.”
Filthy Underneath track by track:
‘Even Light’: With lyrics providing the title of the album, Shah wastes no time in exemplifying her stunning vocals. While her voice is undoubtedly the highlight, the horns on this song are particularly endearing, too. [5/5]
‘Topless Mother’: Embracing her more experimental influences, Shah delivers a track as infectiously catchy as it is stunningly beautiful. This is a promising example of things to come as the album progresses; the only complaint that arises is that it is not long enough. [4.5/5]
‘Food for Fuel’: Evoking a degree of Anatolian psychedelia within the backing music, the vocal performance on this song is a testament to the diversity of Shah’s range and ability. The song is imbued with an effortlessly cool, almost cinematic, quality. [4/5]
‘You Drive, I Shoot’: Showcasing the electronic stylings that earned Shah a place on the recent Depeche Mode tour, this track features a driving, monotonous beat that creates an atmosphere of mystery as well as a certain sense of innovation. [5/5]
‘Keeping Score’: Continuing the electronic edge, this introspective exploration once again showcases Shah’s seemingly endless vocal talents as well as her desire for variety within her own sound. [4/5]
‘Sad Lads Anonymous’: Picking up the pace somewhat, this song is a glorious anthemic effort about missing home. A suave, glistening prayer with refreshingly witty lyrics and a particularly excellent bassline; what is there to complain about? [5/5]
‘Greatest Dancer‘: The initial disappointment over this not, in fact, being a Sister Sledge cover is quickly forgotten once Shah’s ethereal vocals kick in. A love letter to the lockdown, spent with her late mother, this is arguably the stand-out track from the album. [5/5]
‘See My Girl’: With an almost Joy Division-esque bassline, this mellow, fairly melancholic track offers a fairly predictable atmosphere by this point in the album. While Shah’s performance is as enjoyable as ever, this song does leave you with a sense of yearning for something more that is not delivered within this track. [3.5/5]
‘Twenty Things’: Another track during which Shah’s northeastern vocals are endearingly obvious. It is songs like this which set the singer apart from her contemporaries as a true original, playing by her own rules. [4/5]
‘Hyperrealism’: A haunting, electronically-backed self-reflective track detailing personal struggle, ‘Hyperrealism’ is among the most emotionally charged efforts across the album. While the backing synths are enjoyable, this may as well have been acapella, as it is nearly impossible to focus on anything other than Shah’s vocals. [4.5/5]
‘French Exit’: An excellent title for an album’s closing track, ‘French Exit’ again sees the singer embrace Anatolian and Middle Eastern influences with unforgettable results. Lyrically, this is perhaps the most unremarkable song from the album, but ultimately, it does what it says on the tin. [3.5/5]
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