I’m sure I’d come across the name Elizabeth and the Catapult before, but I’d always imagined a very different sound from what I found. Digging a little deeper, I was surprised to learn this is already her sixth album.

The album opens with "I Love You Still", a simple acoustic track with beautiful string accompaniment. Vocally, Elizabeth’s tone and clarity stand out immediately, in a way that’s instantly disarming.

The first thing that hits you in "Learning to Drive" is the gorgeous double bass. It’s rare to hear it so front and centre, and it makes for a striking opening, driving the track forward. When the vocals come in, they step into the foreground, but the balance between the two feels seamless. Additional textures and backing vocals build throughout, coming together to create, in my mind, an outstanding track.

When "50/50" starts up, my first thought was Sheryl Crow, who had many hits in the 90s. As the song unfolds, though, that comparison fades, replaced by Suzanne Vega. There’s something in the vocal delivery and the track’s DNA that strongly evokes that era for me, particularly her second album, Solitude Standing.

The title track, "Responsible Friend", comes out of the gate at a steady pace. When the vocals hit, they sit higher in the range, giving them an almost breathless quality that’s easy on the ear. A subtle male backing vocal sits deep in the mix, adding another layer of texture. It’s refreshing to hear a title track that stands this strong.

The Sheryl Crow comparison comes to mind again with "Bored of Myself", though it’s more about the overall feel than anything specific. There’s a similar lightness and ease to the arrangement, with a subtle groove that carries it along. At the same time, it never feels derivative, more a reflection of shared musical DNA than direct influence.

Things ease back a little with "When the Doctor Needs a Doctor", another laid back acoustic track, again lifted by a beautiful layer of strings, a combination that always works for me. As the song opens up, it introduces some playful touches, including pizzicato violin and whistling, which all add to the track’s whimsical feel.

The next track, "Goodbye Wisdom", has a distinctly different feel, with a musical theatre vibe in the best Paul Williams tradition. My mind immediately went to Bugsy Malone. It does drift slightly into a dreamy, synth infused section, but soon returns to the opening feel. Who knew a song about losing a wisdom tooth could be so good.

Again we drop back to something a little more relaxed, this time with the timing of a waltz. I love the vocals, but I can’t help but listen past them, as the piano beneath is beautiful, again supported by string accompaniment. There’s something about this track that you can’t help but lose yourself in.

With "Lost Time", it’s almost a reversal of the previous track, with the vocals front and centre and the instrumentation pulled back to let them soar. Again, the strings are used to good effect, but it’s always the vocals that my attention gravitates towards. Even now, I find myself torn over which track to ask to feature on the podcast.

I have to admit, when "Cellophane" opened, it didn’t quite click with me. But as the song unfolded and I followed the lyrics, it gradually won me over. A beautiful mid section break with ethereal synths and keyboards feels like the moment everything falls into place.

The album closes with "Stay", which has a much darker feel. Interestingly, I found myself most drawn to what I think is a vibraphone, an instrument that always makes my ears prick up. There’s also a brief harmonium break, which provides another interesting focal point, however fleeting.

For me, this has been a fantastic introduction to Elizabeth’s music. It shifts between stripped-back acoustic moments and more layered, experimental touches, always anchored by strong melodies and distinctive vocals. There are a few standout highlights, but overall there isn’t a bad track among the eleven here. It’s a consistently engaging listen that reveals more with each play.