Adele - 19

is nineteen, as the powers that be are so keen to remind you, being that ‘19’ is the title of the much-hyped songstress’ debut album. It’s a shame, therefore, that the record doesn’t seem to allow Adele to act her age: these feel like songs written for someone at least ten years older, if not more.

Single ‘Chasing Pavements’ is, admittedly, a wonderful example of just how majestic and stage-like pop can be, but it’s as contrived as it’s possible to get without venturing anywhere near Simon Cowell. It’s designed for a radio audience; it soars just where you expect it to, and were it not for Adele’s uncanny ability to sound like she means it, would be little better than a Leona Lewis effort.

The points during ‘19’ where Adele does shine are undoubtedly those where she’s acting young; those which bear the ultimately predictable comparisons with fellow girl-about-town Kate Nash. Debut single ‘Hometown Glory’ expresses a view carefully balanced between utopia and gritty reality; she’s too young to be cynical here. ‘Best For Last’ is a playful track about, well, playing boys (or one boy in particular). ‘Daydreamer’ is full of the joys (and otherwise) of young lust. But that’s about it.

Once the orchestration hits - carefully conducted during ‘Chasing Pavements’ - ‘19’ is mostly a girl sounding made to perform songs which are beyond her years. The kind of tracks you’ll take from Amy Winehouse - not only is she a full 5 years older than Adele, but her well-publicised struggles mean you know she’s lived it - but here sound like a girl playing at being a jazz star.

Adele has a fantastic voice, it’s strong, emotive, and believable. It’s able to climb, soar and wilt without risking that American Idol-style gurgling. In this way, the hype isn’t misplaced. Yet, when this talent is used in such a calculated way, it’s almost a waste. Almost, because while the tracks aren’t bad, if Adele was left to be a teenager a little longer, they could have been so much better.