For many years, Vanessa Haynes has been one of those voices woven into the fabric of British soul and jazz. Whether fronting Incognito, appearing regularly at Ronnie Scott's, performing at the BBC Proms or bringing her extraordinary energy to Natalie Williams' Soul Family, she has built a reputation as one of the finest vocalists working in the UK today. Audiences know the power of her voice. They know the way she can command a stage, lift a chorus and draw listeners into a performance. What they may not know is that behind that celebrated voice sits a songwriter of considerable depth and maturity.
I was fortunate enough to catch up with
Vanessa recently following Natalie Williams' Soul Family's appearance at Hever
Festival. Long after the final notes had drifted across the castle grounds and
the audience had begun making their way home, we spoke about Wild Balloons. It quickly
became apparent that this was not simply another recording project. These songs
carry a deeply personal significance, allowing listeners to discover the woman
and songwriter behind one of the UK's most recognisable voices.
There is perhaps no better time for such
a record. After more than two decades of performing, collaborating and touring,
Haynes has accumulated the sort of life experiences that provide fertile ground
for songwriting. Relationships, personal growth, moments of joy, periods of
reflection and memories stretching back to childhood all find their way into
these songs. The result is an album that feels honest, authentic and entirely
free from artifice.
For those familiar with Haynes through
Incognito, Wild Balloons may come as something of a surprise.
The sophisticated jazz-funk and dance-floor grooves that have become synonymous
with that legendary outfit remain part of her musical DNA, but this album heads
in a different direction. Built around soul, blues, roots influences and
classic songwriting traditions, the arrangements are deliberately understated,
allowing the songs themselves to breathe. Rather than dazzling through
complexity, Wild Balloons captivates through emotional truth.
The title track immediately establishes
the album's character. Reflecting on innocence, possibility and the wonder of
youth, it possesses a warmth that feels both nostalgic and hopeful. Haynes
looks back with affection but never through rose-tinted glasses. Instead, she
captures something universal about childhood, those moments when the world
seemed filled with endless possibility and imagination.
One of the album's most captivating
moments arrives with Daisy
Lane. Beautifully driven from the back by bassist Tiago Coimbra, the song
unfolds with a natural grace that immediately draws the listener in. Whether
Daisy Lane refers to a memory, long since faded or simply an emotional
landscape is almost beside the point. Haynes leaves enough space for listeners
to create their own associations, allowing the song to become deeply personal
to each individual who hears it. Coimbra's bass line provides the heartbeat of
the performance, while Tom O'Grady's keyboards and Al Cherry's tasteful guitar
work that opens the piece with a somewhat country feel create an atmosphere
rich in texture and feeling. The song then takes on more of a classic 70's soul
vibe. It is a beautifully crafted piece of songwriting that reveals more of
itself with each listen.
Elsewhere, Even If demonstrates Haynes' gift for
restraint. In an era where many songs feel compelled to announce their
intentions immediately, Haynes is content to let the narrative unfold
naturally. The result is a song that rewards patience, drawing its strength from
carefully observed details rather than grand declarations. It is one of several
moments on the album where the listener becomes aware that Haynes trusts both
her songs and her audience.
I Blame Myself is perhaps one of the most revealing
tracks on the record. It takes courage to turn the spotlight inward, and Haynes
does so without self-pity or melodrama. The song acknowledges personal
responsibility whilst remaining emotionally engaging, demonstrating a level of
self-awareness that elevates the writing beyond simple confession. It is this
willingness to embrace vulnerability that gives much of the album its emotional
power.
It's Too Late carries echoes of classic soul
songwriting while maintaining a contemporary perspective, while Strangers explores the starting point of a
relationship. There is a maturity throughout these songs that can only come
from lived experience. Haynes writes not from theory but from life itself, and
that authenticity resonates in every lyric.
One of the album's most charming moments
arrives with These Little
Things, co-written with Natalie Williams and Hannah Vasanth. The song
celebrates the seemingly insignificant moments that ultimately shape our lives,
the small gestures, conversations and shared experiences that remain with us
long after larger events have faded from memory. It serves as a fitting summary
of one of the album's central themes: that life's greatest meaning is often
found in its smallest moments.
The musicians assembled around Haynes
deserve enormous credit throughout. Tom O'Grady's keyboard work is a constant
source of warmth and character, moving effortlessly between Wurlitzer, Rhodes,
Hammond and piano. Martyn Kaine's drumming demonstrates admirable restraint,
always serving the songs rather than drawing attention to itself. Tiago
Coimbra's bass work is consistently impressive and often quietly brilliant,
while Al Cherry's electric and acoustic guitars provide colour, texture and
subtle emotional shading throughout the album.
The vocal arrangements deserve special
mention. The contributions from Chlöe Du Pré, Brendan Reilly and Kwabena
Adjepong enrich the sound without ever overwhelming it. Their harmonies feel
organic and supportive, enhancing the emotional impact of the songs whilst
allowing Haynes to remain firmly at the centre of the narrative.
Particular praise should also go to
Robin Mullarkey for a mix that perfectly serves the material. There is space
around every instrument, allowing the performances to breathe naturally whilst
maintaining a cohesion that binds the album together. Nothing feels forced,
compressed or overproduced. Instead, Mullarkey has delivered a mix that mirrors
the songwriting itself: warm, honest and refreshingly human.
What makes Wild Balloons particularly rewarding is that it
never feels like an established vocalist experimenting with songwriting.
Instead, it feels like a songwriter who has finally chosen to reveal herself
fully. For years, audiences have celebrated Vanessa Haynes for her
extraordinary vocal gifts. This album demonstrates that her songwriting
deserves equal admiration.
There is a confidence running throughout Wild Balloons that comes not from bravado but from
self-belief. Haynes understands exactly who she is as an artist and allows the
songs to unfold naturally, resisting the temptation to over-complicate either
the arrangements or the message. The result is a collection of songs that feel timeless rather than fashionable, built on strong melodies, thoughtful lyrics
and performances that place emotional connection above technical display.
Perhaps that is what makes this album
feel so significant. In a career already filled with notable achievements, Wild Balloons offers something entirely new. It
allows listeners to move beyond the acclaimed vocalist they already know and
discover the songwriter who has quietly been waiting in the wings all along.
Wild Balloons is more than a welcome return to
recording. It is the sound of an established artist opening a new chapter,
revealing another dimension of her creativity and doing so with warmth, honesty
and considerable skill. For many listeners, this album will be an introduction
to Vanessa Haynes, the songwriter. It is a discovery long overdue. Glenn Wright
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