Alessia Cara, “Love & Hyperbole.”

Canadian singer-songwriter Alessia Cara pushed toward the positive on her fourth album, Love & Hyperbole. In the process of finding the balance between joy and heartbreak, Cara has delivered her most self-assured and mature work to date. From the writing to the arrangement and performance, the 28-year old has managed to stake out a territory that feels fresh. Sonically, there’s a throwback funk and R&B influence in the music, but it plays through the lens of a modern and youthful perspective.

Opener “Outside” hits with a tight drum groove, with light touches of  keys and intricate backing harmonies. It reflects Cara’s positivity in a world where it’s not always easy to fend off the glass-all-empty mentality.

“How can I come back to earth when I can’t go outside?” she asks.

Songs like “Left Alone” are expertly dialed in, with Cara locking into the dynamics of the groove naturally. The song doesn’t try to do more than it needs to. Her singing sits right in the pocket of the arrangement with a keen sense of what the song needs. One of the album’s highlights is jazzy banger “Dead Man,” where Cara does her best Amy Winehouse impression. It’s slick and pointed, the horns adding an extra layer of personality, while the Big Band breakdown at the bridge adds the icing to the cake.

“If you really care, then why am I feeling you just slipping through my hands?” she sings.

It’s a minor point, but in an era where artists are opting for brevity and shorter tracks, it’s refreshing to hear a singer use space as Alessia Cara does here. The three- and four-minute tracks allow for added musicality and don’t push the hook in your face. Mid-tempo jam “Subside” does that by allowing space for the song to rise, fall and develop overall.

Cara delves into more of a bluesy sound on “Run,” where her singing fits right in with the choppy groove. The vocals in the verses feel raw, not too polished and over-produced, which adds to the authenticity of the sound. Restrained ballad “Drive” slows things down but doesn’t lose sight of the underlying beat in the process. “Get To You” starts as a pop ballad then changes gears into more of a late ’90s pop-rock anthem. “Obvious” is a standout among the slower tracks, mixing a funky beat-driven sound with a light touch.

“Fears are only false creations/ Just as vibrant as we paint them,” Cara sings.

“Garden” is driven by percussion over a minimalistic instrumental. Not to be left out, straightforward pop is the course on “Night Time Thing,” but works in a string section that fleshes out the sound.

It’s not entirely coincidence that the album sounds as alive as it does.

In working with producer Mike Elizondo, Cara brought a live band to the studio, tracking the album together at the same time. It’s noticeable on punchy acoustic jam “Feels Right.” “Fire” is earnest and introspective, offering a “Nashville sound.” Cara rounds out the album with sultry pop anthem “Slow Motion” and introspective closer “Clearly.”

Follow writer Mike DeWald at mikedewald.bsky.social.