Orla Gartland, “Everybody Needs a Hero.”

Irish singer-songwriter Orla Gartland is back with another album of enigmatic pop on the vulerable Everybody Needs a Hero.

Gartland continues her style of substance over flash, demonstrated oh so well on 2021 debut Woman on the Internet, but this time it hits differently. Her lyrics are more mature and perfunctory. While the essence of electro-pop she’s relied on is still present, the new album sounds more rooted in lo-fi pop. She produced it herself and clearly thrives on her own brand of independence.

This album is not about to mess around. “Both Can Be True” is a solid piano piece that hooks you with a melancholic vibe. Gartland sings like she’s on the edge unsure whether to cry or scream.

“Sound of Letting Go” hits with an alt-rock punch akin to Imagine Dragons’ “Believer” meeting KT Tunstall. The chord progression in the chorus is infectious, making it darn-near impossible to not sing along: “That’s the sound of letting go/ And then does it feel so good/ That’s the sound of letting go/ Oh, can you hear it go/ I can’t change you, I can’t change me, I can’t change anything/ So I, guess I gotta let it go,” she sings.

Fun and rockin’ “Little Chaos” is a girl power anthem. Here, Gartland depicts the absolute chaos you experience when you’re in love: “See, I struggle showing just how much I really love you/ You can thank my mom for that (she’s gonna hate that)/ I can’t promise that I’ll never freak out/ But I’ll try not to be a letdown/ Nothing great is ever easy/ Pick me up, take me home/ Turn me off, turn me on/ I’m your friend, I’m your girl/ I’m your little chaos.”

“Backseat Driver” has a funky vibe that sounds like a mix of ’80s pop and Reality-era David Bowie with a splash of Charli XCX. The harmonies are catchy and complement the fun lyrics: “Shut up backseat driver/ This has gone too far/ You’ve taken up enough space/ Now get out of my car/ I don’t wanna do this the only way I know/ Lying through my teeth and driving into the wall!”

Melodic and upbeat single “The Hit” is the most reminiscent of Gartland’s debut. It’s free-flowing and breezy, with electronic percussion flourishes alongside the otherwise organic instrumentation. The maturity in the artist’s songwriting also pops here. Then, the bare-bones instrumentation of “Simple” accompanies straightforward lyrics about finding comfort in the little things, while contemplating the bigger picture.

“It’s the money and the handshake/ It’s a deep breath on a hard day/ It’s accepting that you’re older and another stays the same/ It’s the breakfast that you make me/It’s the smile from a baby,” Gartland sings. A few songs later, she picks up the same form of stripped down storytelling on “Mine,” a somber story about the struggle to maintain physical autonomy in a relationship: “You take what you want and you leave us in pieces/ I was an optimist/ He said it seemed like I wanted it.”

Along the same lines, Gartland expresses the difficulty of maintaining her individuality amid a relationship on “Who Am I,” which hits hard with unhappiness. “I took the long way home to make a point about it,” she sings. “What if I want someone to take care of me/ But I put it like that it sounds so fucking bleak/ And I want you but not like this.”

English singer-songwriter Declan McKenna appears on “Late to the Party.” The song offers a glitchy party vibe while taking a swipe at a significant other’s ex. “Three Words Away” then introduces a folky pop-rock feel similar to that KT Tunstall or Sheryl Crow in the ’90s. Other artists might let the vocals to get lost in the rhythm, but Gartland’s style makes that impossible.

The title of “Kiss Ur Face Forever,” release all the way back in 2023, is incessantly repeated but doesn’t kill the driving melody of the song. It’s the most fun of the bunch. It’s nearly three minutes long but was made in the spirit of punk, during bright and seemingly quick. “Let’s play a game of emotional Monopoly in the name of monogamy/ I have arrived, special delivery,” she sings, definitely having a blast in the process.

The album concludes with the title track. “Everybody Needs a Hero” about finding someone to look up to. The simmering ballad begins with a mellow intro that scorches midway with its power chords and reverb-laden vocals, eerily similar to the progression of Swann’s “Black Hole Sun” cover.

Orla Gartland has lyrically never been better, and Everybody Needs a Hero announces that she is here to stay.