It was eleven years ago in the United States when Adele‘s second album, 21, was released. Having been released 22-days earlier in Europe, the album continues what the website All Music describes as “bittersweet soul and folk-infused love songs,” acknowledging feels for the singer and songwriter aged 21 when the album was released. Join me in reminiscing with the music.
Rolling in the Deep opens the album 21, serving as a song that the artist considered a “dark bluesy gospel disco tune,” per the website Songfacts. The song takes a turn of expressing feelings of being through with a love interest who had been unfaithful. The song topped the British charts at #2 and the American charts at #1.
Rumour Has It follows the album opener with a story of returning home to friends in the United Kingdom asking “about rumors that they had heard about Adele,” per Songfacts. The artist found the gossip surprising, aiming to set things straight back home as well as with this song. Rumour Has It topped the American charts at #16.
Turning Tables turns more ballad focused, turning to the notion of pre-emptive protection against becoming trapped by a controlling relationship. Accompanied by piano, Adele sings of maintaining independence with this tune.
The song Don’t You Remember offers a sad look at forgetting. Adele is quoted in saying by Songfacts that this song explores “when you forget why you loved someone? I was just thinking about how my entire body would just shiver if my ex touched me to say hello. It’s sad when you can’t remember why you loved someone.” The acoustic with stripped down sound of drums offers a sound of comfort while invoking consolation.
Set Fire to the Rain charted at #11 in the United Kingdom and #1 in the United States. The uplifting sense of pop accompanies the notion for how it can be difficult to light a cigarette in the rain. The metaphor underlying this song is for it being difficult longing for the comfort of another who isn’t there.
He Won’t Go offers an interesting and uplifting splash of piano accompaniments. The sound invokes the surprise of the beginning of a relationship quickly averted when Adele‘s prospective suitor enters rehabilitation for drug use.
The ballad Take It All “turned out to be about the early stages of a relationship falling apart,” per Adele. The choice to begin the song with singing as well as piano was compositionally interesting and appreciated, later invoking the sound with the backing vocals of what sounds like a choir.
I’ll Be Waiting warms the emotional temperature for the album with the recognition from the singer to the notion that rekindling the right relationship feels righter in the moment than she had previously realized. Seeing the blue skies of redemption warms the soul with optimism.
One And Only picks up the notion of considering love, this time with someone whose long been present yet the two have never quite come to examining those feelings with one another for one another. Using a different key to previous ballads included with 21 proves a nice and appreciated touch in turning over a gospel sound engenders a distinct feeling that seems appropriate to the bridge of possibility struck with this song.
The acoustic approach of Lovesong as a remake to a song by The Cure was both interesting and unexpected for me. The declaration that love remains a hopeful possibility for Adele offers a sweet and optimistic spirit that, with one last song, completes the album 21.
Someone Like You brings the album 21 full circle, remembering the special feelings of love, hoping for those again with the appropriate suitor, and moving on from a former hopeful who proved himself to be not the one. This song charted as #1 in the United Kingdom while additionally charting #1 in the United States. There you have my look into 21 by Adele. Thanks for stopping by and listening in with me.
Matt – Wednesday, February 16, 2022
Matt Lynn Digital 
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