Beabadoobee has been releasing music since she was 18, with her first song, ‘Coffee’, being an immediate hit. Since then, she has released two albums and five EPs to great success, and now her third album, This Is How Tomorrow Moves, has been released. Beabadoobee has tried out a range of genres and styles across her of writing and production, but it is clear in This Is How Tomorrow Moves that she has found her niche; tightly produced, crashy, indie rock, with a few lightly produced ‘Glue Song’-style tracks. It’s her best album to date, and it’s clear that she’s grown into her voice in a way that is distinctively unique.
The first track is ‘Take a Bite’, and was the first single released for the album. It’s got a 90s indie soft rock vibe, with a spoken-word leading line. While a brilliant track, the album only increases in sophistication – a testament to how outstanding this album really is.
‘California’ is a personal favourite, along with ‘Beaches’, which is perfect for the festival season. Reminiscent of the style of her EP Our Extended Play, ‘California’ is a rock track with a build-up that shows expert knowledge of how to control an audience. The bridge has elements of Gracie Abrams in Beabadoobee’s vocals – another of the artists chosen by Taylor Swift to support the 2023 Eras Tour.
The tone shifts with the slower, sleepy ‘One Time’, which feels like a hot summer day. The production is similar to her EP Loveworm, and by this point in the album, it’s clear that This Is How Tomorrow Moves is the culmination of years of experimentation.
‘Real Man’ has a strong Fiona Apple style to it; the sass in her lyrics – “I guess no-one ever taught you how to be a real man” – pairs perfectly with close mic production. It feels personal, scathing and confidential.
For fans of Beabadoobee’s softer tracks, ‘Tie My Shoes’ is the song for you. It's overflowing with warmth, little guitar solos peeking out between strings. It’s very similar to the viral ‘Glue Song’, yet entirely original. ‘Girl Song’, the following track, is similarly low energy, but heartbreakingly sorrowful. Beabadoobee describes herself as “just a girl who overthinks about proportions or her waist” in this slow piano ballad. Once you’ve managed to recover from the deeply personal – and widely relatable – lyrics, pay attention to the bridge; Beabadoobee has perfected that stab-in-the-heart Taylor Swift bridge.
‘Coming Home’ and ‘Ever Seen’ are both singles, and demonstrate the twinkly, soft side of Beabadoobee’s music. ‘Ever Seen’ is like a mix of boygenius and The 1975, and a favourite out of the singles. The members of The 1975 are shareholders in Beabadoobee’s record label, Dirty Hit, and have previously influenced tracks like ‘Pictures of Us’.
‘A Cruel Affair’ is a shift from Beabadoobee’s usual two staple styles of rock or soft pop. It’s jazzy, with a medium tempo and stripped back production, with a sparkly sound effect ending the song. The lyrics are just brilliant – I’ll be saying ‘she’s a catch, but so am I’ at every possible opportunity.
The next track brings back the fullness of her debut album Fake It Flowers, sweeping you away with silky backing vocals and electronic drums. If you liked ‘So High School’ by Taylor Swift, ‘Post’ for you. It's proudly electronic and works it to its fullest sound.
Before ‘Beaches’ was announced as a last-minute single a few days before the album release, I’d written in my notes, “This could’ve easily been a single”. It's a standout and has got to be one of the best tracks on the album, maybe ever by Beabadoobee. Catchy and crashy, it’s quintessentially Beabadoobee, and the electric guitar solo playing a stylised version of the vocal track is all-consuming. It would be a travesty if this one doesn’t hit the charts with a bang.
Beabadoobee’s previous track ‘the way things go’ feels like it's part of the same series as ‘Everything I Want’. ‘Everything I Want’ is sparkly and joyful, capturing the feeling of innocent early love. Beabadoobee hints towards her new relationship in the line, “tryna do it right this time”, and presents this new relationship as purely magical.
‘The Man Who Left Too Soon’ is a track of loss and longing, referring to a distant father. The lyric, “at least we look at the same moon” repeats throughout. It’s a topic that Beabadoobee has rarely touched upon before, and it’s clear this one will resonate deeply with many listeners.
The album closes with a personal track alluding to her breakup with her previous boyfriend, director Soren Harrison. Referencing his work within the film industry, she sings, “Using what I’m best at, and I hope you do the same / I’d sure make a movie before planning on something to say”. There’s no anger, but instead a focus on healing, with references to songwriting as her own method of recovery. It’s close to the heart and mature, summarising the rest of the album accurately.
This album is more personal than Beabadoobee has been in her music in a long time, with tight production from Rick Rubin. Sophisticated and expertly crafted, This Is How Tomorrow Moves is evidence of years of writing. Elements from all stages of her previous music come together in absolute harmony to make up the best Beabadoobee album to date.
