In the past year, Amaarae’s music has taken off in the R&B and Afropop realm, getting co-signs from artists such as Kali Uchis on her hit single “SAD GIRLZ LUV MONEY.” Her mix of sweet high-pitched vocals complement the heavy layer of textured afro-beat drums. Amaarae’s ability to carry a cohesive collection of songs in this style was put to this test, however, on her second studio album “Fountain Baby.” If she proves anything, though, it’s that she can do this perfectly and more.

With the album’s opening moments, “Angels In Tibet” brings an orchestral touch to her signature sound, kicking off the album’s themes of love, power, and self-empowerment. Sweetness drips from Amaarae’s hazy afro-beat landscapes, composed of understated, yet vibrant synth pads and horn accents that course its way like glistening streams. With songs like “Reckless & Sweet” and “Aquamarie Luvs Ecstasy” follows a similar formula, be it more of a low-key aesthetic.

Amaarae, however, is not shy about showing off her range in genre-mixing. “Counterfeit” contains heavy percussive Caribbean influence and steel drums, production akin to a Pharell Williams song. “Princess Going Digital” mixes Afrobeat rhythms with synth pop elements, containing crunchy synth chords and bombastic drum breaks sounding straight out of an 80s pop hit. Ammarae even closes out the album with a bang with “Come Home To God,” where a solo acoustic guitar develops into an anthemic rock epic.

With a tracklist that never falters to entertain, the poetry of Amaarae found in Fountain Baby details the complexity in romantic relationships, power dynamics, and intimacy. All of this is paired with a project that simply sounds stunning; its glossy presentation underlined by layers of emotion make it one of the most danceable albums of the year that still manages tugs on your heart strings.