Going into My Ego Told Me To, I didn’t have any real expectations - I hadn’t heard Leigh-Anne’s solo work before, and outside of Little Mix, I wasn’t familiar with her as an individual artist. But it didn’t take long for that to change.

This album feels intentional from the start. There’s a confidence running through it - not forced, but earned. Blending reggae influences with pop, R&B, and touches of dancehall, Leigh-Anne creates a sound that feels both polished and personal. More than anything, it comes across as her stepping fully into her own space, reclaiming her voice and identity in a way that feels real.

“Look Into My Eyes” opens the album with a smooth, confident introduction that immediately sets the tone. There’s a calm control to it - nothing overdone, just a steady groove that lets Leigh-Anne settle into her voice. The reggae and R&B influences come through subtly, giving the track a warm, laid-back feel while still sounding polished and modern. It’s an easy entry point, but it carries intention. Vocally, she keeps it honest and direct. There’s a sense of presence here - like she’s inviting the listener in while quietly establishing who she is as a solo artist. As an opener, it does exactly what it needs to do: it introduces her sound without forcing the moment.

“Dead and Gone” picks things up with a heavier groove that immediately stands out. The beat hits with more weight, giving the track a deeper pocket while still keeping that smooth, reggae-infused feel. This is where Leigh-Anne really starts to shine. Her voice sits perfectly in the groove, confident and controlled, but with enough edge to match the energy of the production. It’s one of the stronger moments on the album - the kind of track that pulls you in on the sound alone, then keeps you there with how well everything comes together.

“Revival” shifts the energy into something more uplifting and purposeful. There’s a sense of renewal in the way the track builds - both musically and emotionally. The groove stays smooth, but there’s a brightness to the production that helps it stand out. There’s also a nice touch in the use of the classic “Bam Bam” interpolation, which adds a familiar reggae feel while still keeping the track modern and fresh. Vocally, Leigh-Anne carries it with confidence, leaning into the message without overdoing it. It’s a track about growth and moving forward, and it comes through in a way that feels natural and genuine.

“Been a Minute” settles into a smooth, reflective groove. There’s an ease to it, but also a sense of looking back - like reconnecting with something that’s been sitting just beneath the surface. The production keeps things clean and understated, giving Leigh-Anne space to let her vocals carry the feeling. Her delivery really stands out here - soft but controlled, with a subtle emotion that comes through without needing to push. She lets the phrasing breathe, which adds to the overall intimacy of the track. It’s a quieter moment on the album, but one that adds depth, showing another side of her sound without losing the overall flow.

“Goodbye Good Morning” brings a noticeable lift in energy, leaning more into that pop and dancehall fusion. There’s a bounce to it that feels lively and confident, giving the album a bit of forward momentum at this point. The groove is infectious, with a rhythm that’s easy to lock into, while still keeping that polished, modern sound. It’s one of those tracks that feels built for movement without losing its substance. Vocally, Leigh-Anne sounds fully in control here - more playful, more assertive. She rides the beat effortlessly, showing another layer of her range while keeping everything tight and intentional.

“Burning Up” keeps the momentum going with a smooth, mid-tempo groove that leans into that reggae and R&B blend. There’s a warmth to the track that feels steady and controlled, never rushing the moment. The production sits right in the pocket, giving Leigh-Anne room to glide over it. She keeps her delivery clean and confident, letting the melody carry the energy rather than pushing too hard. It’s a track that builds more through feel than force - subtle, but effective, and it fits nicely into the album’s overall flow.

“Most Wanted” features Valiant and brings a confident edge to the album, leaning into a slightly bolder, more assertive energy. There’s a swagger to the track that stands out, giving it a bit more attitude while still staying polished. Rvssian’s production plays a big role here - the beat has a strong, infectious bounce that blends pop and dancehall in a way that feels both modern and authentic. Valiant’s flow adds another layer, bringing a sharp, effortless energy that complements Leigh-Anne really well. Leigh-Anne steps into that confidence fully - her delivery feels sharper and more direct here. It’s a track that highlights her presence, showing she’s not just finding her voice, but owning it.

“Best Version of Me” shifts into a more personal and reflective space. There’s a sense of growth here - like stepping back, taking everything in, and choosing to move forward with intention. The production feels more up front here, moving with a kind of fluid energy that shifts and flows throughout the track. It doesn’t stay locked in one place, which gives the song a sense of motion and keeps it engaging. Leigh-Anne leans into that honesty. Her delivery feels more open here, with a natural emotion that makes the track connect. It’s about self-awareness and becoming something better, and it comes across in a way that feels genuine rather than forced.

“Me Minus U” leans into a more stripped-back, emotional space. There’s a sense of clarity here - like cutting something off and finally seeing things for what they are. The groove is smooth but carries a bit more weight, letting the emotion sit right at the surface without overdoing it. It feels focused, with nothing extra getting in the way. There is a quiet confidence that Leigh-Anne delivers. There’s strength in how controlled she keeps it, letting the message land without needing to push. It’s a clean, honest moment that adds depth to the album.

“Sunrise” brings a lighter, more uplifting feel to the album. There’s a sense of renewal here, like turning a page and stepping into something new. The groove is smooth and easy, carrying that warm, reggae-leaning influence while still feeling polished. It moves effortlessly, matching the mood of the track. Vocally, Leigh-Anne keeps things bright and controlled, letting the melody do the work. It’s a track that feels hopeful without forcing it, adding a nice sense of balance at this point in the album.

“You ARE a Star” acts as a quick but meaningful pause in the album. It’s less about structure and more about message - a moment of affirmation and reflection. There’s a simplicity to it that works well, letting the words and tone take center stage without distraction. It feels personal, almost like a reminder spoken directly to the listener. As an interlude, it does exactly what it needs to do - reset the mood while reinforcing the album’s theme of confidence and self-worth.

“Free” opens things up again with a sense of release and movement. There’s a lightness to the track, but it still carries intention - like stepping fully into your own space without hesitation. The groove is smooth and flowing, blending those reggae and pop elements in a way that feels natural. It doesn’t push too hard, but it keeps things moving. Her delivery feels confident and relaxed, letting the message come through naturally. It’s about letting go and embracing independence, and it fits perfectly with the album’s overall journey.

“Tight Up Skirt” brings a playful, dancehall-driven energy into the album. There’s a bounce to it that feels lively and rhythmic, giving this stretch of the record a nice lift. The production leans more into that Caribbean influence, with a groove that’s built for movement while still keeping things polished. She leans into a more fun, confident side here, riding the rhythm with ease. It’s a track that doesn’t overthink itself - just a solid, feel-good moment that adds variety to the album.

“Talk To Me Nice” keeps that dancehall influence going but brings it into a smoother, more controlled space. The energy is still there, just a bit more refined. The groove sits comfortably in the pocket, with a rhythm that feels steady and intentional. It doesn’t need to do too much - the vibe carries it. Her approach here feels confident and self-assured, setting a tone of respect and clarity. It’s a subtle shift, but it adds another layer to the album’s overall message.

“Heaven” brings the album into a more atmospheric, almost dreamy space. There’s a softness to it that stands out, giving the track a lighter, more emotional feel. The production feels expansive, with a smooth flow that surrounds the vocals rather than sitting beneath them. It creates a mood that’s more about feeling than structure. She leans into that space with a more delicate delivery, letting the emotion come through naturally. It’s a track that feels reflective and a little vulnerable, adding depth as the album moves toward its close.

My Ego Told Me To comes together as a confident and cohesive statement from Leigh-Anne - an album that feels both personal and purposeful from start to finish. What stands out most is her voice. It’s not just technically strong - it’s expressive, controlled, and versatile in a way that allows each track to carry its own emotion without losing the overall flow of the project.

She understands how to use her voice as an instrument, adjusting tone, energy, and delivery depending on what each song needs. Whether it’s something lighter and playful or more reflective and intimate, she never overreaches - she lets the feeling come through naturally.

By the end of the album, it’s clear this isn’t just a step outside of Little Mix - it’s her fully stepping into her own identity. And if this project is any indication, she’s not just finding her voice - she’s mastering it.

One Love - Todd M. Judd