Simply put, Leon Bridges has one of those voices that is just plain beautiful and works in any situation. From appearances in “Big Little Lies” as Reese Witherspoon explains her fracturing marriage to her daughter through the lyrics and medley of “River,” to “Texas Sun” and its countless appearances on grocery store and restaurant playlists, Bridges’ voice and lyrics consistently deliver comfort and ease. On his third studio album, Gold-Diggers Sound, he further explores the styles of R&B and soul from his previous records while integrating poppier beats and synthesizers.

Named after the Los Angeles studio where the album was written and recorded, and where Bridges lived the last two years, there’s a cohesive sound sewn throughout.

The album, his first since 2018’s Good Thing, opens with “Born Again,” a collaboration with Robert Glasper that begins over a quiet piano as Bridges sings of feeling vulnerable and lost. After the first chorus, the pace picks up, effectively leading listeners into the rest of the album. Trumpets and saxophone conclude the track, leading to the lead single.

“Motorbike,” slightly more pop-oriented than the rest of the album, is both romantic and visceral. “We don’t stop but the time do/ Lovers in another life, let me remind you/ Look back, see me behind you,” he sings in the first verse. It’s not hard to conjure images of riding through a bustling city while still feeling like the only two people in the world.

“Steam” a more upbeat track, comes next. Bridges sings about dancing and grooving with a woman. Layered with female backing vocals through the hook, the song is a highlight of the album with playful instrumentals and a bass that maintains the tempo. “Baby, you and me is a vibe,” he sings. It will undoubtedly make you do a little dance; a shoulder shimmy if nothing else.

On “Magnolias” Leon Bridges sings of a love so deep and organic that he would never leave. “Dig down straight to the core of ya,” he sings, telling her he’s devoted like the waves crashing on the shore and that their love feels like the fertile soil giving life to fresh magnolias. An uncredited female voice comes in during the final moments to add another bit of harmony to the flourishing track.

Halfway through comes “Gold-Diggers (Junior’s Fanfare)” an instrumental interlude that clocks in at just over 40 seconds and features an array of brass. It’s short and sweet, and a nice tribute to the studio that inspired Bridges.

“They don’t need you like I do/ They don’t see the details of you,” he sings on “Details.” At this point, if the album isn’t making you fall in love with something–your partner, yourself or just your bedroom plants–you must’ve been built with a really cold heart.

The penultimate track, “Don’t Worry,” a duet with Ink, is perhaps the best song here. A mid-tempo cut somewhat reminiscent of “Texas Sun” helps blend the pair’s vocals. Running over six and a half minutes, it features verses from each singer’s perspectives, instrumental tangents and harmonizing. Their voices build on and elevate each another perfectly. Because of its structure and length, it’s placed perfectly on the album and feels like a treat to hear right before the end for those who’ve stuck around.

Leon Bridges concludes Gold-Diggers Sound with “Blue Mesas,” about feeling lonely despite being surrounded by people. “There’s a price on my pain/ For hiding feeling I don’t say/ Keep my cool or I lose my way,” he softly sings.

You can easily picture him building the song in the small studio, asking big questions about life, then pairing them with music. A slow drumbeat and saxophone make up the outro, ending the album in the way it started: with ease.

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