After years of living a lowkey life in hiding, Zayn has again emerged to the forefront of music with his fourth studio album Room Under The Stairs. Anticipation simmered as he embarked on the longest and only solo press run of his career, including a first-time solo live performance at O2 Shepherd’s Bush Empire, interviews with Zach Sang, Zane Lowe, Jimmy Fallon, Kelly Clarkson, and a cover spread for NYLON Magazine. Zayn’s fans are elated to see him back. The album contains 15 tracks with some abstract titles such as “Birds On A Cloud” and “Fuschia Sea,” inspiring dreamy images. Room Under The Stairs is stripped-back and minimal, reflecting Zayn’s perspectives on healing and growth. In the face of his well-loved, mostly R&B-derived discography, this album is a commendably brave pivot, offering a new side of him as an artist. It shows his commitment to finally “[making] music [he] always hoped to make.”
The entire process of writing and recording took about six thoughtful years, with the help of Dave Cobb, a multi-Grammy-winning producer (cited in works of Chris Stapleton, Jason Isbell, and Brandi Carlile). Cobb was not present at the album’s inception but joined Zayn’s process after witnessing his impressive vocal talent and authentic inspiration from his life journey. Cobb’s undeniable country and folk influence meshed cohesively with Zayn’s lyricism, creating an unexpected body of work for fans and casual listeners to dive into. Zayn says on the collaboration: “I hope we can take listeners on some whimsical, magical journey.”
The lead singles to the album were “What I Am” and “Alienated,” released in March and April respectively—the former talks about being tired of putting up a facade in a relationship. The latter describes the complications that come with deep regret, and learning to say goodbye to it all. While the tracks are similar in instrumentation, “What I Am” shows more country-like vocal intonation, while “Alienated” features Zayn’s signature falsettos and runs.
“Dreamin,” is an honest bluesy track that speaks on escapism. It is one of the more funky tracks, with a sassy guitar and percussion.
“Grateful” soon follows, a heartfelt, semi-orchestral dedication to his daughter Khai, where he says with love, “Yeah, I’m grateful for you / Love it when the rain comes down / Love it when the waves calm down.” He refers to Khai again in a later track, “Shoot At Will.” It soothes the ears with heavenly choral samples, describing his past relationship. He asks, “When I look at her, all I see is you / When you look at her, do you see me too?”
“My Woman” is subdued and moody, candidly expressing the struggle between trying to save a relationship vs. trying to save oneself. Zayn sings with conviction, “My demise is what’s holdin’ me / Grabbed a hold then took control of me / In my mind.”
“How It Feels” comes next, introducing some new vocal textures and cadence from Zayn. The triplets and inclusion of bell-like sounds create a feeling reminiscent of a lullaby.
“Stardust” marked the first music video from this album, directed by Frank and Ivanna Borin. It features natural, expansive imagery, contrasted by a silver orb and rectangular space portal. The melody is catchy and romantic: “Feels like stardust / Floatin’ all around us / Shootin’ right across a / Big black sky.”
“Gates of Hell” and “Birds On A Cloud” serve as a two-part story. The first is blunt confessions of hedonism, followed by waking up and coming to the realization of his emotional codependence. Birds cannot sit on clouds, as clouds are a mere illusion of a foundation.
“Concrete Kisses” follows with a brighter sound, talking about bearing scars proudly and learning to move on. It includes spacious vocal layers that emphasize the chorus: “I’m finding my way on the highway this year.”
“False Starts” departs from the more minimal previous tracks, driven by a thumping drum. Zayn’s voice soars and echoes over psychedelic instrumentals, singing: “Yeah I’m shakin’, my heart’s naked / Out of control.”
In “The Time,” Zayn shows growth and maturity as he declares a change in priorities. He sings, “Feedin’ families, forget the fame / I’m doing it now for a second name.” This change is perhaps attached to fatherhood, noticing that time can slip away faster than one thinks.
“Something In The Water,” the most R&B-leaning of all tracks on Room Under The Stairs, calls back to his roots as a soloist. The groovy guitar and warm percussion in the chorus add an orange-colored hue to an otherwise cool-toned album.
Similarly, “Fuschia Sea,” which concludes the album, includes some sultry trap elements, evocative of Zayn’s earlier works. The song represents waves of passion and color that he seeks to be engulfed in. Beautiful falsetto runs occupy the bridge and part of the outro, showing a graceful exit.
Room Under The Stairs shares Zayn’s take on folk-style music, displaying his talents through a new lens. Stream the album now on Spotify and Apple Music to hear Zayn’s most personal project.
