Beth Orton has returned with Beth Orton The Ground Above, the ninth album from the genre-blending star. Her first release in four years, the record is distinctively split into two halves, themed around life’s two inescapable certainties: grief and death.
Orton describes the record as a reflection of the “feral invincibility” that defined much of her early life—a magnetic, high-speed existence that rarely allowed for reflection until it was forced upon her. “I said yes to life, over and over again, embraced and devoured all that I could, propelled magnetically in a flying dream that didn’t allow for time to catch up with me, except for when it did of course,” she explains. This sense of momentum and the subsequent “catching up” forms the backbone of this special record.
The Emotional Architecture of The Ground Above
Motherhood has also played a significant role in Orton’s evolution, politicizing her perspective against a backdrop of global instability. This shifting prism of politics and personal history gave the recording process a new intensity, resulting in a collection of songs that cross timelines and emotional landscapes.
A Track-by-Track Journey
The Ground Above
Orton views music as her “invincibility cloak,” a sonic space where the acceptance of love and the presence of grief coexist to make the listener feel more alive. The title track serves as a bridge across timelines, influenced by her shifting political perspective as a parent in an era of rapid social change.
Before I Knew
Recorded live at the Fish Factory in London, this track captures a raw, immediate energy. The session featured Chris Vatalaro on drums, Tom Herbert on bass, Sam Beste on piano, and a special guest appearance by Adrian Utley. Apart from a trumpet overdub and a loop made from Utley’s acoustic guitar, the track remains as it was played in the room, capped off by Sam Amidon on fiddle.
Cigarette Curls
For this track, Orton collaborated with Paul Butler in Los Angeles, who added harmonies, horns, and strings. The song also features contributions from Nick Hakim, whose harmonies added a “honeyed” texture to the extended arrangement. Orton credits Hakim’s approach to music as a major inspiration over the last few years.
Waiting
Exploring the concept of “precipice living,” this song was initially inspired by Terry Callier’s “Ordinary Joe.” While the initial band session was upbeat, Orton later added a solo piano intro at her home studio to give the story room to breathe. The final version, featuring flute by Jesse Chandler and backing vocals by Teeny Leiberson and Grey McMurray, leans into a Van Morrison-esque widescreen atmosphere.
Celestial Light
Recorded at Figure 8 in New York City, this track is a love song to landscapes and poetry. It features Orton’s U.S. touring band, including Ben Sloan, Shahzad Ismaily, and Mauro Refrosco on glass marimba. The seamless take reflects the deep chemistry the group developed while touring the Weather Alive album.
I’ll Miss You
Incorporating the poetry of Anna Akhmatova, this track features a standout beat from Tom Skinner and atmospheric contributions from Dave Okumu. Working remotely with Shahzad Ismaily, Orton layered flute, nylon string guitar, and synths over the spare drums and piano to create a haunting, textured piece.
Love You Right
Written in a reverie while reading Dylan Thomas, this track is Orton’s take on the country and gospel traditions. Though drummer Chris Vatalaro labeled it a gospel song, Orton simply views it as a “true song written from the heart,” exploring the weight of sincerity and tradition.
Otherside
Inspired by the idea that birds sing in the morning to signal they survived the night, “Otherside” was born from a sleepless night and a few simple piano chords. It carries a message of compassion and self-forgiveness, centered on the belief that every day offers a new opportunity to “make it right.”