Thirty-three years into a storied career, Beth Orton is crafting some of the most compelling music of her life. Following the critical acclaim of 2022’s Weather Alive, the UK songwriter has solidified a sound defined by expansive, live arrangements and a raw, unfiltered approach to her craft. Her latest release, The Ground Above, serves as a poignant continuation of this creative chapter, finding the artist in a space of profound vulnerability and technical mastery.
A Return to Form and Atmosphere
The Ground Above marks a rare moment in Orton’s discography where she maintains a consistent sonic identity across consecutive releases. Once again opting for self-production, Orton reunites with a stellar ensemble of musicians, including pianist Sam Beste, drummer Tom Skinner, and multi-instrumentalist Shahzad Ismaily. The addition of guitarists Leo Abrahams and Adrian Utley further enriches the record’s textured, snowy soundscape. Much like the craggy, live-in-the-studio aesthetic of Bruce Springsteen’s Letter to You, this album feels like the work of a veteran musician performing with ease, yet carrying the weight of lived experience.
Navigating the Complexity of Life
The album’s emotional core is anchored by Orton’s unflinching honesty regarding her personal struggles. Having long managed chronic health conditions, including Crohn’s disease and temporal lobe epilepsy, Orton’s voice is noticeably raspier and more weathered. Rather than a limitation, she wields this texture as a powerful tool, cutting through the ambient instrumental sections with a sharp, emotive edge. On the title track, she delivers the haunting line, “I’m invincible as grief,” setting the stage for an exploration of the dichotomy between her roles as a mother and wife and the enduring nature of her internal wounds.
The Loneliness of the Human Experience
Throughout the record, Orton interrogates the isolation that can exist even within the most intimate relationships. She frames love as both a life-giving force and a disorienting one, singing of being “wiped out like chalk off of a board.” By invoking mythological imagery—specifically the loneliness of Demeter—Orton positions herself as a figure howling from within a squall, fighting against the inherent cruelty of life while seeking moments of kindness. The Ground Above is a deeply felt, beautifully arranged collection that confirms Orton’s status as one of the most significant singer-songwriters of her generation, proving that she remains as unpredictable and vital as ever.