Album Review: Olly Alexander – Polari
3 min read
First rising to fame as the lead singer of Years and Years, Olly Alexander has become better known recently for his acting endeavours. His highly awarded turn in the Russel T Davis show It’s a Sin made him a household name. His return to music came in the form of representing the UK at the Eurovision Song Contest coming at a respectable (for the UK) 18th. His entry features on Polari along with a slew of other self-written songs. The album is his first solo endeavour and first album since the break up of Years and Years in 2023 and is intended as a love letter to 80s pop and exploration of queer culture.
The first single Dizzy is also his entry into Eurovision. While it may have failed to win over the judges, the pulsing 80th style and pet shop boys’ influence make it an infectiously catchy number. Alexander spoke about how his experience of acting in the 80s drama It’s a Sin led to his discovery of 80s music and the influence is a recurring thread across the album. The upbeat love song Cupids Bow, has a joyous dance beat along with the 80s synth and layered vocals. The song is so fast-paced that it at once point fades out with Alexander playing at struggling to catch his breath before the song fades back in faster than before. The playful production and unapologetically upbeat lyrics make it a memorable pop number.
The queer influence is clear, in the title of the album and the title track, both of which are named for “Polari” a form of slang used in queer subcultures in Victorian England. It rose to relevance again in the 80s with activists The Sisters of Perpetual Indulgence giving speeches in it. However, despite Alexander discussing the importance of this in interviews the song Polari itself doesn’t mention this influence or ,surprisingly, utilise any of the slang. The lyrics are limited and overplayed with pulsing synth and aggressive dance beats. The song itself is a fun track but doesn’t live up to the promise of its title. A song that does lean into the queer influence is Make Me a Man produced by the legendary Vince Clarke. The lyrics are more narrative than other numbers and tell the tale of Adam of Bible fame begging God to “make him a man”. The double meaning and powerful production make the song a stand out and showcases Alexanders song writing skill.
While Alexander is very good at song writing, he keeps his lyrics upbeat and simple. In some cases, this works, in When we Kiss the uncomplicated lyrics bring heart to a song about a failing relationship. The pleading vocals overlayed over a dance give the song an authentic 80s ballad feel. However in other songs such as Heal the simple lyrics seem to undermine the message. The song is about acceptance and comes from a very honest place however the very light lyrics “From London out to the world, everybody should be heard” make it harder to take seriously. Alexander has discussed wanting to explore deeper themes and it seems like trying to have both depth and catchy dance-pop is a difficult line to walk. However, Language walks this line perfectly. It’s a sweet and genuine love song, with clever lyrics as Alexander sings “No word in any language, A feeling with no name”. It kept the pulsing beat but the emotive vocals and lyrics fit well. The song fades on the final line “Ask me if I love you, it’s the only thing I know” both memorable and emotive.
The album had ambitious intentions but struggled to reach the promise of its premise at points. While Alexander wants to tell stories and manages in a few such as Make Me a Man, he seems to limit himself to more conventional pop for the majority of the album. It makes for a fun listening experience but doesn’t necessarily make many deep cuts. However, as a debut album, it is full of joy, catchy tracks, and promise of more to come.
