Content Guide
everything, in time Review
Ten years feels like forever in pop music. Artists release three albums in that span, reinvent themselves twice, maybe even retire and comeback again. Ella Eyre spent that decade learning one brutal lesson: sometimes you have to lose your voice completely to find out what you really want to say.
“everything, in time” finally arrived on November 21, 2025, and honestly, it was worth the wait. This isn’t the polished, radio-ready dance-pop that made Eyre a household name through collaborations with Rudimental and Sigala. This is something messier, warmer, and infinitely more real. Across 15 tracks spanning 47 minutes, she’s crafted a soul and R&B record that feels like sitting in a dimly lit jazz club at 2am, nursing a drink and processing everything life’s thrown at you.
The Long Road Back (everything, in time Review)
Context matters here. Eyre didn’t spend a decade just casually working on music. She hit every possible roadblock an artist can face. During the COVID lockdowns, she underwent vocal surgery and literally couldn’t speak for a month. When her speech therapist finally asked her to try saying something simple like “hey, how are you,” nothing came out. Imagine being a singer and suddenly having no voice at all. That kind of fear changes you.
The recovery took six months. During that silent period, she listened back to all the music she’d been planning to release as her second album. She hated every second of it. The realization hit hard: if she was going to sing again, if she was going to stand on stages and pour herself out night after night, it had to be for music she actually believed in. So she left Island Records, took back her masters, deleted everything, and started over from nothing.
That takes guts. Walking away from a major label deal when you’re already a decade into your career and facing an uncertain future with your voice? Most people would have just released what they had and called it a day. Eyre torched it all and bet on herself.
Building a Sound from Scratch (everything, in time Review)
The album runs through 15 tracks that blend classic soul, contemporary R&B, retro funk, and these gorgeous gospel-tinged moments that hit you right in the chest. Only two features appear across the entire record: Tiggs Da Author on “Head In The Ground” and Jay Prince on “High On The Internet.” Everything else is pure Eyre, which feels intentional. This is her statement, her vision, her rules.
Opening with the title track “Everything, In Time” was a smart move. That funky guitar line grabs you immediately, and her jazzy vocal delivery sets the tone for everything that follows. She’s mentioned it’s her personal favorite on the album, and you can hear why. There’s a looseness to it, a confidence that says she knows exactly who she is now. The lyric about being an Aries and how words don’t come gently because it’s a fire sign by design? That’s the kind of specific, personality-driven writing that makes you lean in.
“Head In The Ground” with Tiggs Da Author brings this gospel warmth that makes you want to clap along. The hand percussion sits right in the pocket, and when that rap section comes in, it feels natural rather than forced. These kinds of collaborations can go sideways fast, but this one works because both artists are clearly on the same wavelength.
Then there’s “High On The Internet” with Jay Prince, which might be the most 2025 song possible. We’re all addicted to our screens, scrolling ourselves into oblivion, and this track captures that weird mix of connection and isolation that defines modern life. The groove is relaxed, almost languid, which creates this interesting contrast with the subject matter. Sometimes the best songs about anxiety don’t sound anxious at all.
“Domino Szn” hits different. It’s this silky soul-pop moment that could have been pulled from a ’90s R&B playlist, but with modern production sensibilities that keep it from feeling dated. The vocal runs are tasteful, never overdone, which shows real restraint.
The Deeper Cuts (everything, in time Review)
“Red Flags & Love Hearts” channels Amy Winehouse hard. You can hear those loping, rattling drums that made Winehouse’s sound so distinctive, plus this Caribbean-inflected rhythm that gives it movement. Some might call it derivative, but honestly, if you’re going to borrow from someone, Winehouse is excellent company. The song explores that painful territory of knowing someone is bad for you but wanting them anyway. We’ve all been there.
“Kintsugi” stands out as one of the more experimental moments. The synthesizer work here gets a bit proggy, which feels unexpected on a soul album, but it works. The concept behind the song is beautiful: kintsugi is the Japanese art of repairing broken pottery with gold, making the cracks part of the object’s history rather than something to hide. As a metaphor for personal growth and healing, it’s perfect. The production mirrors this idea, taking broken electronic sounds and weaving them into something cohesive and even more interesting than if they’d been whole to begin with.
“Ain’t No Love That Blind” goes in a completely different direction with this melodramatic rock guitar hook that shouldn’t work on a soul album but somehow does. Eyre has talked about this being the anthem she wished she’d had as a teenager, something to remind her younger self that love shouldn’t cost you your peace or your sanity. That kind of hindsight wisdom hits different when you’re actually old enough to have learned those lessons the hard way.
“Loverman” carries special weight because it was the first thing she recorded after vocal surgery. She never re-recorded it, keeping that original take because it captured a specific moment in her recovery. You can hear something raw in that performance, a vulnerability that wouldn’t be there if she’d polished it to perfection later.
“Space” might be the most fun on the entire record. The brass section gives it this big, bold energy, and the whole concept is hilarious in the best way. She wanted so much distance from someone that even outer space didn’t feel far enough. When you’re that done with someone, you might as well shoot for a different galaxy. The confidence in that song is infectious.
The album closes with “Rain In Heaven (Demo),” and keeping it as a demo was the right call. There’s something about unfinished recordings that can be more emotionally resonant than their polished counterparts. It feels like she’s letting you into the creative process rather than just presenting you with the final product.
The Production Team and Sound (everything, in time Review)
Working independently meant Eyre could assemble what she calls her “tribe” of producers. Luke Smith, Aston Rudi, Mike Spencer, Detonate, Guy Langley, and Lael Goldberg all contributed multiple tracks. She’s emphasized that these relationships were built on genuine creative chemistry rather than just hiring the biggest names available. Everyone involved wanted to make something special, not just collect a check.
That collaborative spirit shows in the final product. The production feels cohesive without being repetitive. Each song has its own identity, but they all clearly belong on the same album. The vintage influences are obvious but never overwhelming. You can hear Lauryn Hill in the hip-hop soul fusion, Etta James in the vocal delivery, Amy Winehouse in the jazzy instrumentation, Outkast in the willingness to experiment with genre, and gospel choirs in those soaring, communal moments.
Technically, the mixing gives each element room to breathe. The bass lines sit deep in the mix without overwhelming everything else. The drums punch through when they need to but know when to lay back. Vocal harmonies layer in ways that add richness without cluttering the soundscape. For an independent release, the production quality rivals anything coming out of major label studios.
One thing critics have noted is that Eyre’s voice sounds different now. Lower, grittier, aged by experience and physical trauma. But it’s still powerful, still capable of delivering lines that hit you emotionally. If anything, that rougher edge makes the vulnerability in these songs land harder. She’s not trying to sound perfect anymore, and that imperfection is what makes it perfect.
What She’s Really Saying (everything, in time Review)
If you had to sum up this album in one word, Eyre would probably say “acceptance.” These songs document her journey through industry politics, romantic disasters, physical rehabilitation, and the slow, painful process of learning who she actually is versus who she thought she should be. It’s about accepting hard moments rather than pretending they didn’t happen. It’s about wearing your scars openly instead of hiding them.
Turning 30 was apparently a watershed moment. She describes it as being born again, finally understanding things that eluded her throughout her twenties. As an Aries, patience doesn’t come naturally, but this album forced her to learn it. Good things come in their own time, not when you demand them. That’s a hard lesson for anyone, but especially for someone in an industry that constantly demands more, faster, newer.
Individual songs carry their own emotional weight. “Kintsugi” is about rebuilding yourself and making your broken pieces beautiful. “Space” captures the black humor of heartbreak, when you’re so exhausted by someone that you can laugh about it. “Ain’t No Love That Blind” offers the wisdom she wishes someone had given her years ago. “High On The Internet” questions whether all this connectivity is actually making us feel more alone.
These aren’t particularly revolutionary themes. People have been writing songs about heartbreak, healing, and self-discovery since music began. But Eyre brings enough specificity and personal detail to make them feel fresh. These aren’t generic breakup songs. They’re her breakup songs, documenting her specific journey through her specific disasters.
Breaking from the Past (everything, in time Review)
Understanding this album requires understanding what came before it. Eyre built her career on massive dance-pop collaborations. “Waiting All Night” with Rudimental hit number one in the UK and won a BRIT Award. “Gravity” with DJ Fresh, “Came Here for Love” with Sigala, “Just Got Paid” with Meghan Trainor and French Montana. These tracks defined her public image: the powerful voice lending credibility to EDM productions.
Her 2015 debut “Feline” reached number four on the UK Albums Chart, which is genuinely impressive for a debut. But even then, the production leaned heavily on dance influences from DJ Fresh, Sigma, and Ilya Salmanzadeh. It was successful music that never quite felt like her music.
“everything, in time” represents a complete departure. The organic instrumentation, the soul and funk influences, the stripped-back arrangements… this is what she always wanted to make. Fans who loved “Feline” have apparently said this sounds like the adult version of that debut, which she takes as the highest compliment. It’s evolution rather than reinvention. The seeds were always there, but now they’ve finally had time to grow into something fully formed.
How It Actually Sounds (everything, in time Review)
Reviews have been mixed but generally positive. Some critics praised the warmth and authenticity, comparing it favorably to classic soul albums from artists like Neneh Cherry and Ms Dynamite. Others noted it doesn’t really break new ground sonically, which is fair. This isn’t an album trying to revolutionize R&B or soul. It’s an album trying to do those genres justice while expressing something personal.
The comparison to Amy Winehouse keeps coming up, which cuts both ways. On one hand, it’s high praise to be mentioned in the same breath as one of the defining voices of 21st century soul. On the other hand, it suggests the music might sound a bit too familiar. The truth probably lives somewhere in the middle. Eyre clearly loves Winehouse’s work and isn’t shy about those influences, but she’s not trying to be Winehouse 2.0.
Some reviewers noted the lyrics occasionally lean on modern slang and buzzwords, particularly on “Red Flags & Love Hearts.” That kind of language can date an album quickly, making it sound very 2025 in ways that might not age well. But it also makes the songs feel immediate and relatable right now, which isn’t nothing.
The album dropped only days ago, so chart positions and long term reception remain uncertain. In the streaming era, albums can take weeks or even months to find their audience. The initial response suggests people who’ve waited for new Ella Eyre music are happy with what they got, even if it wasn’t what they expected.
Final Thoughts On everything, in time
“everything, in time” succeeds because it feels genuine. After a decade of trying to fit into other people’s expectations, Eyre finally made the album she wanted to make. It’s not perfect. Some tracks are stronger than others. Some moments feel a bit too familiar. But the overall impression is of an artist who’s finally comfortable in her own skin, making music that reflects who she actually is rather than who the industry wanted her to be.
The title itself tells you everything you need to know about her mindset. Things happen when they’re supposed to happen, not when you force them. She could have rushed out a second album years ago to capitalize on the success of “Feline.” Instead, she took the time to figure out what she actually wanted to say. The result is an album that feels lived in, earned through hard experience rather than manufactured in a studio.
For anyone who’s ever felt stuck, who’s ever had to rebuild themselves from nothing, who’s ever learned patience the hard way, this album will resonate. It’s not trying to be the biggest or the boldest or the most innovative. It’s just trying to be honest, which might be the hardest thing of all.
The production is warm and organic, the songwriting is personal without being self-indulgent, and the performances carry real emotional weight. It’s an album that rewards multiple listens, revealing new details each time. And after ten years, that’s exactly what Ella Eyre deserved to make.
Listen To “everything, in time” By Ella Eyre
He discovered the gem when he was 12 years old and still has it now, claiming it to be why he fell in love with music. He likes to play disc golf when he's not writing about music. He is a one-of-a-kind individual who is always the first to bust out his air guitar on the dance-floor.
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