Live Review: Eliott's honest debut single shows us we can all ‘Figure It Out’

Fresh-faced singer-songwriter gem ELIOTT has today unveiled her debut single, ‘Figure It Out’, adding to her already stately first impression with some bona fide emotive visuals too!

Charlotte Gemmill has taken a strong leap off from the starting block with this one, showcasing her innate vocal talent through a slow-burning and candid ballad. Charlotte's passionate soaring voice is the root foundation of this heartfelt tune, layered with production from Jack Grace - who has recently shared his own fresh solo creation, after underpinning distinguished material from Buoy, Ngaiire and Christopher Port.

This track is a discernibly momentous debut for Eliott, who shares: "it's a song about new beginnings and growing up. The song blossomed from quite a dark period in my life when I was at a crossroads, it’s about letting go."

Jack Grace’s understanding of delicate beats and production further encompasses the emotive drive of ‘Figure It Out’, providing an uplifting support to the fragility of Eliott’s tender vocals, alongside bared piano and other subdued instrumentation.

Directed by Maddy King and filmed in Eliott's home town of Cobram, this video reminiscently explores feelings of nostalgia and youth radiating from ‘Figure It Out’, with some of the scenes even featuring her family’s backyard and some of her closest friends.

"I think it was so important to go back to my hometown for this video," Eliott added. "It was such a special few days filming, because I got to do it with all of my best mates- there was no acting, it was honest and real."

Despite being the dawn of early days for Elliot, ‘Figure It Out’ stands as an inherent hallmark of the unfeigned artist's zealous creativity and adroitly hinges her wholesome songwriting with Grace's benignant production.

Words by FREYA DINESEN

LISTEN TO MORE NEW MUSIC

SEE ALSO

JACK GRACE RETURNS AND BRINGS FRESH COMPLEX FEELS WITH HIM IN ‘BE4UGO

EXHIBITIONIST RETURNS WITH MORE ARDOUR AND RESILIENCE IN ‘MOTIONLESS’