‘Are you impressed with my honesty?” enquires Anne-Marie on Perfect, a smug self-love anthem that soon descends into decidedly unimpressive lyrical filler (bizarre padding includes the detail that she’d like to take her family to an Eminem concert). It’s not the only jarring moment on the former Rudimental vocalist’s debut: 2002, co-written with Ed Sheeran, is an inane dose of millennial nostalgia that strings together song titles from the era in horribly awkward style, while on Machine, the Essex singer outs herself as possibly the only person living in our tech-deluged, late-capitalist society who wishes they more closely resembled a computer. She’s more coherent when picking at heartbreak-related wounds, but the top notes of braggadocio and venom mean these songs don’t end up quite as life-affirming as their imperious choruses would have you believe. It’s all packaged in fashionably sterile pop parcels, the kind where the beats are harsh and crisp, and synths and alien-sounding vocal samples pepper the void.

Flavours of tropical house and reggaeton lend some warmth, but combined with the fact she’s pinched her smokey, slightly croaky vocal style from Rihanna, they result in some cold sweat-inducing cultural appropriation too (her pronunciation of “two shots fired” on Alarm is, well, alarming).

Ultimately, this is music machine-tooled to climb the charts, and it’s working – this album has already spawned three Top 20 hits. Yet it’s disappointing in another sense: the title promises a hit of authenticity, but Speak Your Mind supplies only affectation.