Natasha Bedingfield
“POCKETFUL OF SUNSHINE”
RATING: 2 1/2 EXCLAMATION POINTS
G-rated pop queens have a hard time growing up. Give credit, then, to Natasha Bedingfield, who’s trying to make adult dance pop that’s not overly promiscuous, in the sexual or self-promotional sense. The 27-year-old Brit, who spent her teens on the Christian-pop circuit, has a nicely husky voice and a style that’s modest but not prudish. The self-empowerment anthems “Freckles” and “Happy” show Bedingfield’s best side. Summery elements — loopy guitar lines, sighing background vocals — play against the grain of her voice to evoke unshmaltzy hopefulness. “Love Like This,” the single featuring Sean Kingston, would be unobjectionable if it didn’t make you want to put on a T-shirt that reads, “BAN THE VOCODER.” [ANN POWERS, L.A. TIMES]
Liam Finn
“I’LL BE LIGHTNING”
RATING: 3 1/2 EXCLAMATION POINTS
It’s no surprise Liam Finn (son of Crowded House leader Neil Finn and nephew of singer-songwriter Tim Finn) has built a pretty, catchy collection of imaginative songs that draw from The Beatles and early ’80s Aussie pop. “I’ll Be Lightning” shows the apple hasn’t fallen far from the tree, especially in the moody title track and the psychedelic “Remember When.” Finn does stretch a bit on the jangly “This Place Is Killing Me” and the raucous “Lead Balloon,” especially with the fuzzed-out guitar-freakout ending. But generally, Finn uses his soothing, warm rock voice to relate pleasant tales the way his father does. And there’s nothing wrong with that. [GLENN GAMBOA, NEWSDAY]
Kate Nash
“MADE OF BRICKS”
RATING: 3 1/2 EXCLAMATION POINTS
Last January, the sharp-tongued lass with bouncy beats and across-the-pond buzz was Lily Allen. This year, it’s Kate Nash. And to be sure, “Made of Bricks” has its share of hype-justifying moments, including the strummy talking-to she gives a dubious boyfriend on “Foundations” and the sing-songy life lesson “Merry Happy.” But while Nash shows plenty of promise, she puts her finger on the problem on “Mariella,” singing “I’m heavy-handed, to say the least.” That admission is borne out both by Bricks’ overbusy production and by potty-mouthed put-downs such as “[Bleep] Song.” [DAN DELUCA, PHILADELPHIA INQUIRER]
