Naomi Scott – F.I.G

London singer-songwriter Naomi Scott returns with her highly-anticipated debut album, F.I.G. Drawing on the musical influences she grew up listening to, Scott blends the sound of her family’s favourites from the 80s (Kate Bush, Michael Jackson) with the alt-pop idols of her teens (Jessie Ware). The result is an 11-track collection produced by Lido (Ariana Grande, Jordan Ward, Aminé). Together, they create a listening experience that is both nostalgic and playfully quirky.

Track by track, Scott invites listeners into her inner world through sharp, witty lyricism. The album opens with richly layered melodies that drip with sugar-sweet harmonies, particularly in Hellbent, an exciting and daring number that balances energy with polish while showcasing Scott’s undeniably lush vocal delivery.

The LP dances from mood to mood, keeping fans on their toes. Rhythm offers a striking contrast with its dark and mysterious temper, evoking the tension of a 90s murder-mystery soundtrack. Scott’s velvety voice glides across the song and allows fans to sink easily into its immersive soundscape.

Producer Lido’s influence is unmistakably present throughout the project. His touch of lush harmonic layering, paired with hard-hitting rhythms, such as in Best Kind, carries a subtle echo of the sonic textures heard in some of his work with Ariana Grande.

The first half of the LP flows smoothly, driven by gentle beats that are enough to keep listeners nodding along without going rave-crazy. Momentum dips, however, when we reach Losing You. Its unusual melody and lack of a memorable chorus feel somewhat disconnected from the rest of the album, interrupting what was previously a smooth progression. It feels like a strange and unnecessary addition.

The album draws listeners in on a high, yet struggles to maintain its stamina all the way to the end. Final track Gracie redeems some of this energy and earlier spark, yet its arrival feels too late to fully restore complete momentum.

F.I.G is an enjoyable listen overall, but its sequencing feels uneven – beginning with stronger singles and leaving weaker ones for the second half feels like the wrong choice. Scott’s dreamy vocals bring an unquestionable je ne sais quoi to the project, but the loss of structure in the home stretch dulls the impact of an otherwise promising debut.