There’s something wonderfully timeless about Naomi Campbell’s music. Rooted in folk and Americana, but with a distinctly soulful sensibility, her songs evoke an era when melody, musicianship and storytelling mattered more than passing fashions.
On Bridges, her new four-track EP, the Liverpool-based singer-songwriter brings together three singles released during 2026 alongside one new composition, ‘Nothin’ Better’. Recorded at Liverpool’s Whitewood Recording Studio, it’s a collection that showcases both her considerable vocal talent and her growing confidence as a songwriter.
The Cottage - ‘The Cottage’ is a hauntingly evocative song that conjures up images of lives once lived within the walls of an old white house, now battling against the ravages of time. The line, “If we could just go back in time, hearing all the voices echoing inside”, captures a profound sense of longing, reflecting the bittersweet weight of memories that linger long after the people and moments that created them have passed. It speaks to that universal desire to revisit the past, to hear familiar voices once more and find comfort in the echoes of another time.
From the opening chord, the song is wrapped in a wonderfully restrained arrangement that allows Campbell’s clear, pure, soaring alto to take centre stage. Her effortless phrasing and emotionally expressive delivery lend the song a quality that is both deeply intimate and almost cinematic. An alluring wistfulness runs throughout, captured particularly effectively by Ellen McGovern’s delicate flute solo, which adds another layer of poignancy to an already deeply affecting composition.
Comfort of the Breeze - ‘Comfort of the Breeze’ is a beautifully crafted slice of 1970's-inspired country-soul, recalling the work of Emmylou Harris and Bobbie Gentry, although to this reviewer, the strongest comparison is with Rita Coolidge. Soothing harmonies are layered over soulful piano and the gentle twang of pedal steel guitar, creating a rich yet uncluttered musical backdrop. The instrumentation is tasteful throughout, allowing Campbell’s voice and storytelling to remain firmly in the foreground.
Like Coolidge at her best, Campbell combines emotional depth with an effortless intimacy, delivering her sentiments with a quiet assurance that makes them even more affecting. There’s no unnecessary embellishment or attempt to manufacture emotion; the song succeeds precisely because of its restraint.
Across the Waves - ‘Across the Waves’ showcases Campbell’s impeccable vocal control and instinctive command of melody. A soft, enticing introduction, with its gently gliding slide guitar, draws the listener in before the song gradually unfolds into a rich tapestry of layered harmonies and shimmering guitar lines.
There are echoes of George Harrison’s All Things Must Pass era in the interplay between voices and guitars, giving the arrangement a wonderfully expansive, nostalgic quality. Together, they transport the listener back to an idealised vision of 1970's Americana, a place that perhaps only ever existed in the music of the time. As the song draws to a close, its delicate, twinkling outro conjures up images of sunlight dancing across the water as gentle waves lap against the shore. It’s an exquisitely judged ending, allowing the music to drift away rather than bringing it to an abrupt conclusion. Of the four tracks, this is perhaps the one that most fully demonstrates Campbell’s ability to create an atmosphere through both her voice and the arrangements surrounding it.
Nothin’ Better -‘Nothin’ Better’ has a relaxed, early-1970's soft-pop feel, recalling the warmth and understated sophistication of Carole King, particularly her Rhymes & Reasons era. There’s an easy-going, soulful familiarity to the song, with Campbell’s natural, conversational phrasing lending it an appealing sense of intimacy and emotional honesty. Her delivery is unpretentious yet wonderfully textured, balancing casual warmth with an underlying sincerity that gives the lyrics genuine emotional resonance.
There’s something particularly endearing about the way she sings, as though sharing a cherished memory with an old friend. The song’s gentle nostalgia and heartfelt sentiment shine through without ever feeling forced or overly sentimental. If the other three tracks demonstrate Campbell’s affinity for folk and Americana, ‘Nothin’ Better’ suggests that her songwriting is equally at home in the more melodic territory of classic singer-songwriter pop. The track has already attracted both local and national radio play, but perhaps its most impressive outing came when it was played at Anfield, home of England’s most successful football club, ahead of a Liverpool FC Women’s match. Not a bad achievement for an independent singer-songwriter.
Production and Musicianship - Campbell is joined across the EP by an accomplished collection of musicians: Robert Johnson, Sam Rabbette, Tom Lloyd, Tom Wilson, the aforementioned Ellen McGovern, Jack O’Hanlon, Sarah Sands and Oliver Stone (surely not that one!).
All four tracks were produced and mixed by Daniel Woodward, whose contribution deserves particular recognition. His production is exceptionally well judged, allowing the individual instruments room to breathe while ensuring that Campbell’s voice remains the focal point.
There’s a clarity and balance to these recordings that rewards repeated listening. Subtle instrumental flourishes and vocal details emerge with each play, yet nothing feels superfluous. Every element serves the song rather than competing for attention. It’s the sort of sympathetic production that enhances the music without ever drawing unnecessary attention to itself.
I was fortunate enough to hear Campbell perform ‘Across the Waves’ and ‘The Cottage’ acoustically back in 2025, when Naomi was still blonde! Hearing those same songs now, transformed into fully realised studio recordings, is particularly satisfying. The arrangements have added depth and texture without sacrificing any of the intimacy that made those early performances so memorable.
Final Thoughts The EP’s title, Bridges, suggests themes of connection, transition and artistic evolution, all of which seem particularly appropriate at this stage of Campbell’s career.
What makes these four songs so appealing is their refusal to chase contemporary trends. Campbell draws openly on the musical traditions of the 1970's, but there’s a sincerity to her writing and a naturalness to her delivery that prevent the results from becoming mere exercises in nostalgia.
If there’s a criticism, it’s that four tracks leave you wanting considerably more. There are tantalising glimpses here of the different musical directions Campbell might explore, from intimate folk storytelling to country-soul and classic singer-songwriter pop, and it would be fascinating to hear those influences developed across a full-length album.
For now, Bridges is a beautifully performed, thoughtfully arranged and expertly produced collection that confirms Naomi Campbell as a songwriter and vocalist of considerable promise. The influences may belong to another era, but the talent is very much of the here and now.
Bridges is available on all major streaming platforms but physical copies can be purchased from Naomi Campbell’s Bandcamp page, link below https://naomicampbell.bandcamp.com/album/bridges
Reviewer: Adrian Cork
On: 13/11/2026
