It was back in late 2002 when I interviewed Mike Batt about his new artist, Kate Melua. My interest stemmed from scant information, and my admiration for great female singer/songwriters. Katie’s first two albums were interesting although I could not fathom out the musical heart of this young performer. Occasionally, I was allowed a peek in via a few songs written by her. I began to wonder whether Batt was the right creative partner for her.

Last year, Katie decided to branch out on her creative own, although she still remains on Batt’s Dramatico label, and on this new album there is a single song co-written by him (’God On Drums, Devil On The Bass’).

THE HOUSE is the new album and this time William Orbit is responsible for production while Guy Chambers and others have been co-opted into song-writing duties. Now I understand that a major-selling artist has to keep the units rolling out, and I can understand the big-bucks expenditure on writers and producers, but the big question for me is has it worked? I’m still not sure who or what she is - a mainstream pop artist, passionate and independent singer/songwriter - soaking up real internal and external experiences to interpret them into messages that connect and move? I’m still not sure…

A couple of years ago I saw Katie perform live to an arena audience of 8,000 largely middle-aged fans, and it was disappointing to see this young, beautiful and talented artist unable to attract a younger, edgier crowd. She gave a good performance although vocal limitations became apparent during the show (hell, nobody’s perfect). I suspect THE HOUSE will not dramatically change or expand her audience. It’s certainly different with more diverse, adventurous songs than her previous recordings, however, it’s an album that fails to provide me with the answers I need.

The opening track ‘I’d Like To Kill You’ would make some sense if it applied to a real relationship, but I suspect it doesn’t because there’s no venom, no anger, no passion, no authenticity. Much heralded ‘The Flood’ initially sounds promising, until the echoed and distorted vocals enter, and the song changes dynamic in the most unsubtle and sudden way. This interesting song could have been better and even more epic. ‘A Happy Place’ is akin to a theatrical tune complete with swooning backing vocals, dog-bark instrumentals and comical keyboard moments. Katie’s vocal performance here is expressive, and the song one of the best on the album. ‘A Moment Of Madness’ sustains the theatrical feel, problem is that I’ve this all before…

‘Red Baloons’ (co-written by Polly Scattergood) sees Katie at her most expressive as she delicately picks her way through a very simple and melodic song about broken hearts. I’d love to see her play this accompanied only by her acoustic in a live environment. ‘Tiny Alien’ is a forgettable episode. ‘No Fear Of Heights’ is the first song on the album fully written by Katie. There’s a sniff of authenticity and honesty in this track which is why it’s one of my favourites. However, its whispered vocal doesn’t quite nail the message fully home. ‘The One I Love Is Gone’ is a glacially-paced, bluesy number with a bulls-eye guitar opening but the vocal in such a sad song is unconvincing. ‘Plague Of Love’ is mainstream pop nonsense that could suit Radio 1 and 2 with its driving beat and hooky choruses. ‘God On Drums, Devil On Bass’ is a missed opportunity to include some killer drum and bass solos from a couple of top-line rock guest musicians. The lyrics are interesting but production misses the mark. ‘Twisted’ is all about wanting to cavort with a fancied bloke - quite a sexy track - but there’s no sense of heightened desire and adrenaline in the vocal or production - it’s phone sex rather than real, sweaty physical communion. ‘The House’ closes the album, and is Katie’s second DIY song on the record - my solid favourite. However, it’s produced a lot lighter than it should be. This could, arguably,  have been better performed as an acoustic solo with some judicious, threatening drumming and/or double-bass in the background providing a jazzy feel.

Katie explained, “In addition to being inspired by the values in music of the past, I wanted to embrace the future. First, by accepting the values that are treasured more in music today and by projecting them forward. I found if you went far enough in both directions you end up in the same place. This thought was so liberating it enabled me to be a lot more fearless with expressing emotions, with challenging conventional structures of song and, finally, still allowing simplicity to stir the soul, as it often does.”

I would be fascinated to hear the song demos sent to William Orbit: “I was captivated by Katie’s voice when I first heard her demos in October last year, although not having been involved in record production for some time, felt that I just had to work with her…”

It seems to me that the kitchen sink has been thrown at this album (even the musicians are top grade), and I’m in a quandary as to whether it’s worked or not. Let me give you a couple of competing examples to try and make my point: Marina and The Diamond’s album had a youthful, enticing and original zip about it, with Marina’s vocal and writing the major attractions. Katey Brooks’ album is the best UK female singer/songwriter album I’ve heard this year (by a country mile), with her vocal and writing providing an intensely enjoyable and moving listening experience. Neither of these debut albums needed endless playing to come up with a conclusion.

In sharp contrast, I’ve had to play Katie’s album many times over to arrive at an uncertain conclusion. And therein lies the problem - I have difficulty in understanding who she is and where she is heading. Unit-shifting, BBC R2 airplay and praise, and an out-of-retirement producer’s admiration don’t enter into my equation - they are meaningless. What counts is the music I hear and feel - I’m hearing but I’m not feeling to the level that, for me, defines a great and distinctive artist. That said, Katie flans will flock to this album - her most adventurous yet.

3.5/5