Hollie Cook is a 35 year-old singer from the United Kingdom notable for her take on roots reggae. On this LP, Cook veers away from traditionalist formulae and, instead, gives the genre a modern edge. To say that her success was purely self-motivated is an understandable observation as her velvety voice and upbeat lyrics often find listeners drowning in a pool of carefree tropical serendipity; however, being that Cook is the daughter of both Paul Cook, drummer for the Sex Pistols, and Jeni Cook, backup singer for Boy George and the Culture Club, Cook was born veteran to the professional music scene. Hollie began her career as a member of the post-punk band The Slits as a backing vocalist for 5 years. She, later, met instrumentalists Ian Brown and Jamie Alexander “T” Traeys and recorded her debut album. This album was met with critical acclaim, with many praising her smooth vocals and youthful lyrics.

In “Happy Hour”, Hollie attempts to continue to provide quality reggae music to a younger generation, often fusing aesthetically pleasing tropical production with popular dance-pop and R&B grooves. The first song on the track list, “Happy Hour” details the bitter downfall of a previous relationship and the sweet aftertaste left in the mouths of those who chose to participate. Instead of relying on the overused metaphor of comparing love to an intoxicating alcoholic beverage, Hollie states that “The tears ran down my face/Until happy hour.” Happy Hour is used as a pillow and a resting place from the overwhelming emotion that is romantic disappointment. A cross between a Bob Marley record and a Sade song, this introduction provides you with a glimpse into the sonic elements of the rest of the album.

The second song, “Moving On”, begins with a string arrangement complimenting a traditional reggae beat consisting of guitar, drums, and an organ. Once again, Hollie sings of rebounding from a mind-manipulating relationship not with a new man but with the reassurance of peace of mind and inner strength.

“Full Moon Baby” and “Kush Kween” both revolve around love, fun, and an untroubled state of mind as a barrier from the distractions of the world.

The high-point on the album, however, is the track “Love in the Dark.” This ethereal, spacey track allows synths to glitter and shine along with a danceable backbeat. This song also contains some of Cook’s best vocals and highlights the prowess of her falsetto.

Overall, “Happy Hour” is a well-executed album that, while occasionally lacking in experimental quality, owes its credits to a production team that prides itself in tasteful aesthetics, a singer dedicated to setting the mood, and the unapologetically rhythmic and calming sound of reggae rock.