Lucy Rose announces details of her fifth album, This Ain’t The Way You Go Out

The brand new single, "The Racket" follows the recent release of Lucy Rose’s comeback single, "Could You Help Me".

“I wanted my new album to end on a note of defiance and triumphant; of accepting what’s happened to me, pushing through, picking myself up and continuing life in the best way I can. I also wanted to start the song thanking my son Otis for loving me throughout everything, because really in those darkest times, it was his love that pulled me through," she says on "The Racket".

“The song title nods to two things, the fact that the end of the song is an onslaught of noises and instrumentation, and also the fact that before breaking my back and receiving my diagnosis, tennis was a huge passion of mine, and I got told by my doctors I wouldn’t be able to play again, or potentially even walk. But slowly, slowly, I found my way back to the court and reclaimed that part of me.”

Lucy Rose released a fourth album, No Words Left, back in 2019. It garnered the strongest critical acclaim of her career and culminated in a sell-out show at London’s Barbican theatre. Lucy Rose had planned to spend some well-earned time at home in the record’s aftermath, having toured relentlessly since her late teens. She also formed her own record label, Real Kind Records, until she was struck with sudden illness – severe osteoporosis.

“I booked some time down at Paul Weller’s studio that he’d kindly offered to me, but just before that was due to happen, I was offered a last-minute trip over to New York to work with [US rapper and producer] Logic," she says on how she was able to find her feet and begin work on This Ain't The Way You Go Out. "The week I spent with Logic became completely integral to the spirit that I approached this record with. He impressed on me the notion of “closed creativity” in writing a song, and then “open creativity” too, where the studio experience becomes a much more open-door experience, trusting in the people around you.

“When I returned to England, I wanted to enter that mode of open creativity and just play my music with the musicians that I trusted all around me. We played and played until the songs felt great. There was no rush, but it came quickly.”