(Young/Atlantic)Darkness turns to light in Tahliah Barnett’s follow-up to 2019 LP Magdalene but, even so, it’s an adventurous but undercharged effort missing hooks and cohesion
![FKA twigs: Caprisongs review – wild invention let down by weak songs](https://i.guim.co.uk/img/media/92994e2663d51c027ef2581420ea709635e8ec2e/0_385_5400_3240/master/5400.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctcmV2aWV3LTMucG5n&enable=upscale&s=d31dda4cf4e67e3d85dbaafd41773f90)
FKA twigs recently took to
Instagram to depict her mixtape Caprisongs as a soundtrack for preparing to go out: “It’s bronzer in the sink, alcopop on the side … a club pre-game … your bestie who is always late but brings the most to a party.”
This is not a description that would fit most of Tahliah Barnett’s oeuvre – to date she has dealt largely in darkness and heartache. But where 2019’s Magdalene came with a sleeve featuring twigs looking troubled, her face disturbingly distorted, on the cover of Caprisongs – the first thing she’s released since she accused her ex-boyfriend Shia LaBeouf of abuse (allegations he denies) – she’s clad in glittering jewellery, pulling down her bottom lip to reveal the acronym GOAT (greatest of all time) written on her teeth. Its contents follow suit.