4th July 2025
Christopher Nosnibor
It may be coincidental that Chess Smith threw down Saving Lilibet on 4th July, but it’s certainly appropriate. This is a release that is all about fighting spirit, taking things back, and claiming a state of independence.
Her bio for this release is nothing if not direct:
Chess Smith has been a commanding presence on the Kent music scene for over a decade, both as a solo artist and a frontwoman, most recently as critically acclaimed power vocalist for Salvation Jayne… until 2020, when an abuser tried to take her power, dull her shine, and break her spirit. But they didn’t succeed.
Despite enduring a devastating nervous breakdown at the time, Chess has come back fighting in spectacular style with Saving Lilibet, her most personal, and relatable, work to date. She has made it her mission to provide a voice for those who have experienced abuse and toxicity, and to show the world that you can not only heal after these experiences – you can thrive.
As the saying goes, what doesn’t kill you makes you stronger, and simply telling her story, getting up and putting this out there, with no holds barred, demonstrates phenomenal strength. And for all that, Saving Lilibet is not remotely sad or self-pitying, but a set of songs which is uplifting, and very much focused on empowerment and positivity.
The intro, ‘Saving Lilibet’ is a weirdy, atmospheric little piece, on which Smith’s voice echoes from left and right, ‘save, save’. One gets the impression that this is the voice in her head, her internal monologue speaking to her, pulling her out of her torpor. And that’s exactly what she does, with some pristine pop tunes.
Lead single, ‘Bounce Back’ in many ways speaks for itself. When I covered it back in February, I noted how it was both ‘slick and soulful’, but I don’t think I fully appreciated just how strong the production was: it’s got the groove of Thriller-era Michael Jackson backing up a really crisp pop song, propelled by a thumping retro beat and showcasing a bold vocal performance, which, paired with her heartfelt lyrics hollers ‘taking no shit’.
Second single, ‘Drama King’ is up next, and once again, it’s tight, and light, but by no means flimsy in content or delivery’, and it so happens that the singles are entirely representative of the collection as a whole. The vibe is very much 80s pop played through a post-millennium filter – something which is nowhere more apparent than on the slower ‘Alexa’, while ‘Dissociate’ blends hints of Madonna with some Hi-NRG dance pop and moments of introspection.
‘All My Love’ is a big, anthemic slower song, and clocking in at almost six and a half minutes, it’s epic in every way. And once again, it’s realised with absolute precision and try dynamic is remarkable.
Saving Lilibet is a triumph on every level, and Chess Smith proves she’s not just a survivor, but an artist – and human being – who is determined to thrive. It’s inspiring stuff.
Aural Aggravation 