Dionne Bromfield came to the attention of the world’s media on the back of a famous relative, Auntie Amy Winehouse, not her first but undoubtedly her most voluble and influential supporter.  If only you could market those genes. 
There was never any doubt in Dionne’s mind that the second record would be a collection of her own songs.  Decamped to London after the LA sessions, she found her sound with former Incognito henchman John Paul ‘Bluey’ Maunick and sometime Duffy collaborator Paul O’Duffy and started developing her writer’s voice. 

‘While we were doing it something else clicked into my head which became The Sweetest Thing’.

The confidence in Dionne that began to blossom at a precociously early age, is starting to see the light of day. 

‘The only thing I can talk about is the record, really.’

Her maturity stretches to penning the lyrics for the album’s killer ballad, Too Soon To Call It Love (her personal favourite).
  Her second album is absolutely the birth of Dionne Bromfield: the artist.

‘To be honest, it couldn’t feel further away from the first one, which I love and I loved making. But this is the next level and it had to be.’

And here we are.  

The first song that earmarked the sound of the record was the tornado-like blast of big soul emotion on The Sweetest Thing, one of many highlights on the record. ‘We knew we had my sound.’ It is a sound that fits perfectly into the catalogue of a new British soul tradition, of artists like Plan B and Paloma Faith that have contemporised their Motown leanings, freshly minting them for a brand new generation, yet harks back somewhere to the commercial Midas touch of peak-era Gabrielle. 

‘I wouldn’t change what I’ve done for the world. I loved making that first record but this one is more like a collection of my diaries, rather than what’s on my MP3 player.’

  

From the tear-stained ballad Get Over It to the up tempo street smarts of A Little Love and Muggin’, these are the sort of songs that both fit perfectly into the contemporary milieu, while reminding you of a bigger and better place. It is worth making the point once again: she was 14 when she wrote them.



‘These are my stories,’ says Dionne, a girl who probably couldn’t be named with any more appropriate soul gravitas on her shoulders,  ‘I’ve analysed the words when I was writing them.

'So I can just feel them when I’m singing them. Responding emotionally to these songs is easy. Because they’re mine.’