After delays, label disputes and a very public fight to protect her creative vision, Leigh-Anne has finally released her debut solo album, and it sounds exactly like the record she always wanted to make.
As I mentioned in my review of JADE’s album, I’ve been a Little Mix fan for most of my life, so following each member’s journey during the group’s hiatus (they will be back, I’m manifesting it) has been fascinating. What’s struck me most is just how different their solo music is. Leigh-Anne’s path in particular hasn’t been straightforward.
Her debut single, ‘Don’t Say Love’, leaned into polished pop reminiscent of Little Mix. She then pivoted into richer R&B and neo-soul on her EP No Hard Feelings, a project I really enjoyed. Now, with her debut album, she’s shifted again, and this time the sound feels fully formed.
The pre-release singles made it clear this would not be a Little Mix-adjacent record. Instead, they drew deeply from her Caribbean heritage while embracing genres she hadn’t previously explored. When news broke that she had left her label over their lack of faith in the project, it became obvious how strongly she believed in this body of work.
With all of that context in mind I pressed play, and I’m happy to say it was worth the wait.
My Ego Told Me To is a 15 track album built around reinvention. At its core, it’s about shedding the “old” Leigh-Anne and stepping into a more self-assured, authentic version of herself. Sonically, the album moves between reggae, dancehall, afrobeats, R&B and pop, reflecting both her heritage and her musical foundations.
What’s most impressive is how cohesive it feels. With that many influences, the record could easily have sounded disjointed. Instead, the variety strengthens the narrative, and each genre shift feels intentional.
Vocally, she’s excellent throughout. On the pop-leaning tracks and ballads, she delivers controlled belts. On the R&B cuts, she leans into runs that showcase the warmth of her tone. On the reggae and dancehall tracks, she incorporates a Caribbean accent that adds authenticity rather than feeling performative.
Lyrically, the album is equally strong. The standout for me is ‘Me Minus U’. Its extended metaphor of numbers and subtraction to describe life without a partner is clever without being gimmicky. The writing feels tight, considered and beautifully executed.
The visual world around the album deserves credit too. Green, long associated with Leigh-Anne, dominates the era’s aesthetic, contrasted with red to represent her alter ego. It’s cohesive branding that mirrors the album’s themes of duality and rebirth.
While I enjoy every track, I do have favourites. ‘Dead and Gone’ remains a highlight even within the full record. ‘Tight Up Skirt’ is pure summer energy: the kind of song that has to be played in the sun. And ‘Goodbye Goodmorning’ is the album’s star for me: a sultry R&B track that perfectly captures the mood and she executes so well.
That said, there are minor flaws. I would have reconsidered some single choices. While I like ‘Burning Up’ and ‘Most Wanted’, they don’t hit as hard within the album as they might have if saved for release day. ‘Talk To Me Nice’, with its popiano influence, could have worked brilliantly as a single and better previewed the album’s range.
My only other gripe is the length of certain songs. As someone who loves a strong bridge, a few tracks feel like they end just as they’re building momentum. ‘Look Into My Eyes’ in particular finishes abruptly and could have benefitted from a bit more time to breathe.
Overall, this is a confident and culturally rich debut. It celebrates her Caribbean roots while documenting her growth as an artist. Most importantly, it feels authentic. This project stands apart from the Little Mix brand, proving she isn’t interested in recreating past formulas.
The sonic shift may surprise some listeners, but that willingness to take risks is what sets her apart. And if this is what creative freedom sounds like, I can’t wait to hear what she does next.
