Becky Hill, “Believe Me Now.”

Pop artist Becky Hill finds her voice and carves out her own space in the pop landscape on her second album, Believe Me Now? With other pop contemporaries like Taylor, Billie and Dua Lipa leaning into more intimate records, Hill goes in the other direction, delivering a high-flying record that achieves both singalongs and memorable dance floor bangers.

Hill’s growth from her debut, 2021’s Only Honest On The Weekend, is immense. Even her voice feels here own (from the deeper vocal tones that had some degree of similarities with Lipa).

Hill worked with British musician Rebecca Lucy Taylor (aka Self Esteem) for opening song “True Colours,” a dance hall stomper about being mistreated by an uncaring ex.

“He only knows how to manipulate/ You’ve come to your senses a little too late/ Since saying out loud, do you believe me now?” Hill asks; it’s a line that the album title references.

The orchestral “Darkest Hour” opens with strings, the tension building with the beat until the bass drops and a synth-led rhythm hits. Hill’s voice shines and the driving beat makes for a terrific pop track, occasionally recalling Lady Gaga. “Outside of Love,” about a relationship veering in the wrong direction, begins as a mid-tempo power pop ballad until the beat again kicks in and takes the track away with a speedy rhythm.

“I would rather you were happy/ Even if it means with you without me,” Hill sings.

Believe Me Now? is highly influenced by house music. Hill collaborates with Australian producer and DJ Sonny Fodera on the stellar “Never Be Alone,” pushing her voice to its upper reaches on the powerful track. Fodera’s instrumental pairs well with her vocal.

If there’s anything negative to say about the album, it’s that the thumping loops sometimes follow a similar structure. But the songs are so good that, ultimately, it really doesn’t matter. “Multiply,” about late night thoughts that get in the way of sleep, takes on a moodier, darker and contemplative tone. There’s no break in the momentum heading into “Swim,” which sounds like a nod to ‘90s house. Lyrically, Hill zeros in less on heartbreak and more on the mixed emotions and questions that come before the heartbreak arrives.

“You used to wipe my tears away/ Now all I do is swim,” she asserts.

Hearty ballad “Man of My Dreams” is the first to break up the dance club aesthetic toward more intricacy. Becky Hill even changes her lyrical direction, this time singing of found love. The bluesy, smokey tones in her voice really lend themselves well to the track. The fiery EDM instrumental of “Linger,” which doesn’t have much in the way of singing,  brings back the beats and works as a solid transition piece into “Side Effects,” along with DJ and producer Lewis Thompson. The momentum is fully restored by “Back Around,” a jumpy track with a slick and explosive instrumental.

Many of the tracks on the album are quick hitters, ranging about two to three minutes, “Keep Holdin On” does its job in just a little over two, keeps the tempo up. Believe Me Now? doesn’t require a deep-dive investigation. The messages are overt. But it’s a crowdpleaser that will make people move.

The scorching “One Track Mind” features drag artist (in the role of producer) Rileasa Slaves. The final collaboration is with U.K. duo Chase and Status on “Disconnect,” one of the stronger tracks on the album. Chase & Status bring distorted synths and quick, hard-hitting beats. Hill counters with some of her strongest belting.

The album closes with “Right Here,” which, while also house-influenced, plays more like a pop tune. Even if Believe Me Now? doesn’t have a ton of variance, it provides more than enough compelling moments. The writing is solid and Hill arrives as a pop vocal powerhouse with plenty on her mind.

Follow writer Mike DeWald at Twitter.com/mike_dewald.