Recent episodes of the podcast Table Manners, co-hosted by Jessie Ware and her mother, Lennie, have opened with a promotional message about Ware’s latest album. The announcement informs listeners that they can receive a 10% discount on preorders of Superbloom using a special promotional code. This marketing strategy highlights the synergy between Ware’s podcast and her music career. Table Manners has emerged as a remarkable venture for Ware, attracting high-profile guests such as Margot Robbie, Jeremy Allen White, Paul McCartney, and Robert De Niro. In fact, by 2026, Ware may be more recognized as a podcaster than as a musician. This achievement is commendable, especially in today’s unpredictable music industry, where artists are encouraged to diversify their careers. However, there is a risk that her music could be perceived as secondary to the podcasting experience, as illustrated by the promotional ad that precedes entertaining conversations about banana bread with guests like Lisa Kudrow.
The influence of Table Manners is evident in the album Superbloom, particularly in the track titled Automatic, which features a spoken-word segment by Colman Domingo, a guest from the podcast. This album represents a further commitment to a disco-pop sound, marking Ware’s third consecutive work in this genre. Unlike her previous albums, which incorporated elements of futuristic electronica, Superbloom embraces a more nostalgic approach, showcasing lush orchestration that evokes the early 1980s post-disco vibe, even in its synth-heavy tracks.
Superbloom also enhances the unique selling points of its predecessors by blending camp aesthetics with sophisticated pop elements. In the ballad 16 Summers, Ware features her three children, reflecting themes similar to ABBA’s iconic song Slipping Through My Fingers. While Pearls hinted at theatrical influences, the track Don’t You Know Who I Am? fully embodies the spirit of Shirley Bassey, complemented by a steady dance beat. On a track titled Sauna, she sings, “I need a wood-chopping guy giving love,” preceded by an overtly dramatic introduction called Chariots of Love, which may or may not reference the UK’s largest gay sauna. Debuted in 2024 at the renowned NYC Downlow club during Glastonbury, the song Ride combines playful lyrics with sound effects reminiscent of Ennio Morricone’s classic film score, though its intentionally kitschy nature may not appeal to all listeners.
While Superbloom may feel more like a consolidation than an evolution—showcasing an artist who understands her audience and caters to their preferences—it should not detract from the album’s quality. The genre of adult, disco-infused pop is competitive, yet Ware consistently sets herself apart with her sophisticated artistry and a genuine appreciation for her influences, collaborating with like-minded artists. This is particularly evident in Superbloom, which, despite its playful elements, is exceptionally well-crafted and written. Although it may lack a standout hit comparable to her previous track Free Yourself—which deservedly should have topped charts—it is rich in memorable melodies and engaging choruses. The string arrangements skillfully avoid cliché, instead drawing inspiration from the late Charles Stepney’s lush sound, especially on the title track and No Consequences. Mr. Valentine features a minimalistic sound and energetic percussion that pays homage to the post-disco punk funk of bands like Liquid Liquid and ESG. Ware’s passionate vocals convey sincerity, even in the whimsical track Ride, setting her apart from less artistic contemporaries in the genre.
It is clear that while Superbloom may not deliver the same shock of reinvention that What’s Your Pleasure? did—an album that marked a significant departure from Ware’s earlier mainstream pop endeavors—it represents a comfortable continuation of her established style. If the pop world were to lose Ware to the realm of podcasting, it would indeed be a loss.
In another notable release, Paul Weller’s rendition of Billie Eilish’s song from the Barbie soundtrack, featured in the compilation Weller at the BBC Vol 2, offers a poignant and unexpected reflection on themes of aging and loss.
