Ed Sheeran - +

Broad and sweeping, the release tackles social issues, the idea of self-identity and the problematic twinges of love.

Sheeran delivers haunting and wholly mesmerising vocals that seem somewhat haggard and worn by years of strife: the album is splattered with regret and retribution in equal measure. No more so is this obvious than the occasionally vicious pre-release ‘You Need Me, I Don’t Need You’, which showcases ability to rap at tongue-twisting, sizzling speeds. (By his own admission, when performing the aforementioned track, he normally is successful in snapping his guitar strings).

Yet, the album is much more interesting and notable once such bravado has been removed. Certainly, the long and difficult lessons of ‘You Need Me’ frame Sheeran’s growth, but the anguish of tracks such as ‘The A Team’ define the musician as coming to the pinnacle of bemoaned success.

For example, a great many of the featured tracks focus on the trails of love amidst attempts of a breakthrough. ‘U.N.I.’ talks of the differences that led to the end of a relationship, and yet with only “a hairband as proof you were here”, the regret hits like a ‘tsunami wave’, such its powerful force. ‘Grade 8’ has a slightly rockier edge granted by the various bouncing drums and piano chords, reflecting in the uncertainty of love: the affections of our musician are the attention of some playfully promiscuous paramour, that so induces “tears of a river filler”, need of “drink for a liver killer”.

Most compassionate and striking of these lost liaisons comes courtesy of ‘Wake Me Up’. In a-capella fashion, Sheeran both demonstrates the soft and hard vocals within his capacity, and delivers a performance that is such a postcard perfect representation of young and idol love, only foreshadowed slightly by the future problems in the breaking of the comedy fairytale ‘Shrek’.

Growing pains of ‘The City’ has the musician a stranger wherever he plays, and this the lesson of a singer who has travelled globally and slept on Jamie Foxx’ sofa. By contrast, the absent baby of ‘Small Bump’, once a map of future plans, taken too soon works in much a best laid plans of mice and men fashion.

Despite the fervent passion evident in Sheeran’s tracks and topics, the flaw of + is that by the close of the album, all this overwhelming onset of weary emotions becomes overbearing and somewhat repetitive, typified by the longing of ‘Kiss Me’.

Shamefully, a great many of the tracks have their moments of pent up anger, where Sheeran spits and seemingly foams at his microphone. Despite the best efforts of quirky ‘Grade 8’ and upfront ‘You Need Me’, there were a great many missed opportunities for inclusion of some rockier numbers: a feature piece for electric guitar, or dark rolling 80s synth would have added an additional dimension that not only would have interested a more diverse fan base, but would also have solidified Sheeran as a compatible artist from his first release (consider features on records with Wiley and Wretch 32 as reason behind this opinion of latter lack of inspiration).

Whilst the range of the album is also rather pleasantly surprising, there are occasions when lack of considered lyrics unbalances a song. ‘Wake Me Up’ cringingly fumbles through its second verse by recommending a back up VCR, due to lack of Blu-Ray. ‘Kiss Me’ suggests that whilst “falling into your eyes… I’ll forget I’m in love”, all too stereotyped and cheesy after other brash tracks on this release.

However, with continued success and recognition comes the opportunity to experiment in new areas and hopefully Sheeran will consolidate his achievements so far whilst delivering a sound equally as impressive and capturing next time. Indeed, with such an extensive back catalogue, this offering is merely but a taster of the man’s talents, and there is no doubt that the elevator doors of ‘You Need Me’ will ping open in time for Ed to deliver an even superior gift next time around.

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