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    Album Review: Calum Scott finds peace in reflection on third LP ‘Avenoir’

    Philip LoganBy Philip LoganOctober 11, 2025
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    Calum Scott
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    Calum Scott has always worn his heart on his sleeve — that much we knew. But on ‘Avenoir’, the British singer-songwriter turns that heart inside out, examining it under the bright light of hindsight. Serving as his third studio album, and easily his most personal yet, the LP presents as a lush, cinematic confessional built from soaring melodies, midnight reflections, and the kind of honesty that stings before it soothes.

    The title — borrowed from John Koenig’s The Dictionary of Obscure Sorrows — means “the desire that memory could flow backwards”. That concept frames the album’s emotional heartbeat: a tug between looking back and forging forward, between regrets and undying love, between what was, what could have been, and what still might be. Throughout, Calum’s songs speak of sorrow and longing, but also resolve and hope.


    Calum Scott

    From the slow-burn ache of ‘God Knows’ to the gut-punch honesty of ‘Die for You’, Scott’s voice remains his superpower — crystalline, commanding, and devastatingly honest. Where his debut ‘Only Human’ introduced us to the voice that broke hearts, and ‘Bridges’ found him standing on firmer emotional ground, ‘Avenoir’ takes a bold step further inward. It’s less about survival now, more about understanding.

    Production-wise, the record feels cinematic without losing intimacy. The arrangements swell and shimmer — string sections, gospel echoes, synth undercurrents — but they always leave space for Scott’s voice to breathe. Even the surprise posthumous duet with Whitney Houston on ‘I Wanna Dance With Somebody (Who Loves Me)’ manages to avoid gimmickry, transforming the classic anthem into a moving, ethereal conversation between two eras.

    There’s a maturity running through this record that sets it apart from Scott’s earlier work. The lyrics hit harder — not because they shout louder, but because they whisper truth. He’s no longer pleading for love; he’s making peace with its ghosts.

    In the end, ‘Avenoir’ feels like both a full-circle moment and a fresh start. Calum doesn’t reinvent himself here — he refines himself. He leans into vulnerability, crafts his most cohesive body of work yet, and proves that sometimes, looking backward is the bravest way to move forward.

    Download / stream ‘Avenoir’ here


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