Greatest Loves & Fakest Bitches
London Grammar’s The Greatest Love showcases their signature blend of lush soundscapes and haunting vocals, exploring themes of love, identity and vulnerability in a record that signals an evolution in the band’s artistry.
London Grammar, shot by Zoe McConnell for NME
Today’s music landscape is often driven by immediacy and spectacle, and in such a world made of fleeting trends, The Greatest Love –London Grammar’s fourth and latest album– stands out as a testament to the power of restraint, sophistication, and raw emotion.
It balances an ethereal production with emotional rawness, in a testament to the group’s unmistakable signature flair.
The band, composed of vocalist Hannah Reid, guitarist Dan Rothman, and multi-instrumentalist Dot Major, has always maintained a sense of enigma. Their allure is rooted in restraint, elegance, and an unwavering dedication to quality. With The Greatest Love, they further refine their sonic identity, weaving together sweeping instrumental arrangements, lingering piano riffs, and Reid’s crystalline voice. And it’s precisely Hannah Reid’s vocals, once again, that serve as the heart of the group's sound, possessing an opulent quality that is both modern and timeless.
London Grammar’s latest offering builds upon their established style while taking bolder, more exploratory steps. The album opens with "House", a lead single originally released in April, that subtly experiments with electronic beats reminiscent of house music, while retaining a dreamlike, melancholic quality. However, the real statement piece of the collection is "Fakest Bitch”.
Beginning with soft piano and gentle guitar strumming, "Fakest Bitch" immediately sets a tone of acoustic melancholy that contrasts the more vibrant energy of "House". The song is definitely a standout on the album, conveying emotional depth and merging pain with a sharp edge of bitterness (“Don't turn to me with the driest, with the driest tears/'Cause you're the fakest, fakest bitch”). Reid admitted the track is "pretty self-explanatory", and boy, it is, addressing those moments when someone’s actions make you feel raw and exposed.
But what makes it compelling is the way Reid pairs this direct negativity with poetic, delicate lyricism, reflecting on the uglier sides of ourselves. It offers an introspective take on anger, turning vulnerability into self-awareness and growth, all draped in stunning vocal delivery. It’s bold, biting, and refreshing. “Everybody has had someone”, continued Reid in a statement, “at some point in their life, that’s made them feel that way but what I really like about it is that it’s kind of a bit shocking. For me anyway, just how direct the negativity is but it is again about reflecting on those parts of yourself that are a bit ugly too and looking at yourself in the mirror and learning and growing from that. I wanted to again talk about something quite negative but the lyrics in the verse are quite poetic and beautiful”.
Among other remarkable moments is "Sante Fe”, which masterfully balances stripped-back, intimate verses with a chorus that soars with layered harmonies. The album’s title track, "The Greatest Love", also shines, featuring lyrics that address the complexities of femininity and motherhood in a way which is both personal and universal. Verses like "And I'll hate you because you are a woman/And I’ll love you because you are a woman", serve as both a declaration and a critique of societal pressures, reflecting Reid’s own recent journey into motherhood.
Some may say, however, that as great as the record is, not every piece hits the mark. A couple of critics pointed out how "Ordinary Life" feels slightly underwhelming compared to the other tracks, while "Into Gold", an attempt at more experimental electronic sounds, doesn’t quite stick the landing, disrupting the album’s otherwise cohesive atmosphere. But I happen to disagree, as I am fundamentally biased and there is not one of London Grammar’s songs that I don’t consider to be an utter masterpiece. So yeah, those critics are wrong.
But despite these supposed (!) missteps, The Greatest Love is a striking album that underscores London Grammar's ability to evolve while staying true to their essence. It is a nuanced exploration of love, identity, and growth, wrapped in a lush production with cinematic qualities. It truly is the perfect soundtrack for Sad Girl Autumn, when you’re sipping tea, staring out the window at the rain, and fully embracing your introspective attitude. London Grammar’s beautifully bruised emotions cut right to the core, all while sounding gorgeous doing it.
