SINGLE REVIEW: Dreams Come True by Izellah
Queensland-born teen musical theatre star Izellah has just released her sixth single Dreams Come True. The past year has seen Izellah’s audience grow at an incredible rate as a result of these pop gems garnering support at radio, and most fervently, online where healthy streaming stats are the new benchmark. Her previous single Island Holiday was a tropical house inspired song with a good time lyric and lush production, which helped broaden her appeal with its adult pop flourishes. This latest is another dance-flavoured track, though with a more reflective lyric and somewhat minimal production. Izellah’s voice is at the fore once again, though as result of the sparse instrumentation, has the effect of accentuating Izellah’s confidence. Despite the obvious use of technology utilised to process the voice, in line with current modern pop trends, Izellah’s vocal expertise is harnessed to bolster the song, not necessarily the other way round. This is refreshing, and more significantly, sensible, as it enables the song to cut through, especially the lyric, which is perhaps the most crucial element of the song.
Taking that into account though, the melodic hooks weaving in and out of this track are numerous, and another element which benefits from a more sober production. The chorus is, of course, taken up a notch, with epic synths, alternating percussive grooves and the usual armoury of swirls and rises making an appearance but it never seems to dominate the production. The song was co-written by Izellah with LA studio marvels Wesley & Keaton Stromberg, who only a few years back were part of Emblem3 who scored big with The X-Factor USA, and their studio know-how is patent here. This latest track from Izellah is sure to appease her followers, and no doubt will attract a whole lot more, and as with all her subsequent releases, help make her transition from teen musical theatre star to bona fide pop music star smooth and faultless.
From the brooding dispatches of its title track to the hollow-point harmonies of “Heaven is …