Review: Delta Goodrem, Delta

Delta Goodrem is already a star in her native Australia, and her third studio album, Delta, marks her first bid for success in the U.S. With its high-gloss studio production from producers like John Shanks, Stuart Crichton, and Marius De Vries, and its memorable melodic and lyrical hooks, the album may not result in the same degree of success that Goodrem has enjoyed at home, but it could make her a mainstay on Adult Top 40 playlists throughout the next year.

While Delta’s conventional production doesn’t do Goodrem any favors in terms of establishing an identity, she has a more versatile voice than many of her fellow VH1 “You Oughta Know” artists like Sara Bareilles, Anna Nalick, and Colbie Caillat. The way that she’s willing to vary both her tone and phrasing over the course of a single song (most notably on “Born to Try,” which also showcases the breadth of her range) actually recalls a less nasally version of Shakira’s vocal style more so than that of the current crop of female singer-songwriters.

More significant, though, is the fact that Goodrem’s lyrical style conveys a definite point of view. Specifically, what seems on the surface like a preoccupation with body image is given a sense of weight by its source, as Goodrem might have enjoyed a breakthrough in the States some five years ago if not for a successful battle with Hodgkin’s lymphoma.

As such, her use of images of the human form on songs like “Possessionless” and lead single “In This Life” reflects her very real struggles and, as a result, gives the songs a perspective that occasionally allows them to overcome some of their more clichéd tendencies. While Delta makes for a pleasant enough debut, Goodrem should look for collaborators who are more willing to take advantage of her distinctive voice, both as a writer and singer, if she hopes to have a more lasting presence stateside than fellow Neighbours alumna Natalie Imbruglia.