Daniel Caesar, “Never Enough.”

Never Enough captures the hazy uncertainty R&B crooner Daniel Caesar felt during the past three years. Introducing the long-awaited third album (his first since 2019’s CASE STUDY 01) with surreal instrumentals and his signature falsetto on “Ocho Rios,” he clearly and softly sings, “In the nick of time/ That’s when you appear.” Speaking to a woman in his life, he expresses appreciation for the love she’s given him while lamenting his treatment of her. It’s this difficulty with love that’s ever-present throughout the album.

“Valentina” continues the dreamscape realm with the use of synthesizers. “I know you got a man/ But please understand/ Baby he won’t/ Love you like I do,” Caesar sings Here and through other songs, he shares the uncertainty that exists in relationships. This includes uncertainty of  shared feelings, such as on “Always” or “Do You Like Me?”

“Do you really like me? Do you really like me?/Yeah, we’re still young, but for how many moons?” he asks on the latter.

Then there’s the uncertainty of how to leave in spite of the post-breakup throes. “You’re lying when you tell me that you won’t be fine/ I’m not leadin’ you on, I’m leavin’ you behind,” he asserts on “Let Me Go.”

The album splits these difficulties into different experiences. “Buyer’s Remorse” speaks to regretting a current relationship not based in love—”“I guess I got what I prayed for/ Now you’re in my bed/ I guess we look good on paper”— while “Shot My Baby” is more vengeful even in its melodic, overly saccharine sound: “I shot my baby down that day/ … that [expletive] who stole my place.”

There’s no difficulty, though, on “Homiesexual,” where Daniel Caesar delegitimizes the relationship starting with the title. He takes out his overly critical frustrations on his ex and her new relationship. “Found yourself a bitch/ One that’s celebate,” he sings. “Homiesexual, but girl I ain’t judging.” He’s still looking for a balance between confidence and arrogance.

“Toronto 2014” is a reflection of the time he spent rediscovering his roots, using acoustic guitar strumming as an introduction to the nostalgic search for himself. “Cool” shows that a lack of confidence constantly exists (“play it cool … be cool and just for you”), while “Superpowers” brings listeners into Caesar’s way of building up faith in himself, with deep vocal phrasing seamlessly weaving throughout the song: “Crazy to say this/ But you’re the greatest.”

The tension between confidence stemming from his artistic freedom and needing to meet the requirements of being a popular singer is on display on “Pain is Inevitable.”

This song follows “I Shot My Baby,” and a question resounds in the background, as the song begins with a violin and bass strumming out a heartfelt, melancholic introduction: “Who runs the show?”

You can hear one more conclusion on this one: “Pain is inevitable/ Misery’s a choice.”

Caesar reflects on control and his artistic expression (“Now I’m a product that must turn a profit/ Something to prove/ I’m a god, I’m a prophet). This battle between staying relevant and exploring the full spectrum of artistic expression with confidence is challenged. “They won’t Van Gogh me/ They hardly know me,” he sings on “Van Gogh.”

The way Daniel Caesar chooses to explore that artistic expression is evident throughout Never Enough, gaining inspiration from the musical visions of artists featured on the album, such as with Mustafa’s soft, acoustic style emulating nostalgia on “Toronto 2014.” What’s really unique is that the guest artists (including Ty Dolla $ign, Omar Apollo, serpentwithfeet and production by the Bay Area’s Raphael Saadiq) are more than just “features” within the broader context of the album. Their presence demonstrates the importance of the social connections the pandemic limited and how it challenged the reclusiveness Caesar mentions on “Disillusioned,” which falls midway through the album.

“I love being reclusive and I love being with you,” he sings.

That feeling of “never enough” may have been exacerbated by the pandemic, but it remains timelessly complex.

Album closer “Unstoppable” both challenges Caesar’s critics and demonstrates the confidence he holds in his music career, asking, “And who’s gon’ stop me?/ I’m unstoppable.”