Even in her more subdued moments, there’s always been something deliciously theatrical about Jessie Ware. Superbloom, the singer-songwriter’s sixth studio album, sparkles with the mischief and confidence of an artist fuelled on years of enthusiastic pop star study: its ballads are draped in velvet and low light; its airy disco cuts pulse like a Balearic beach party; there’s even a steam-thick, candlelit sauna fantasy – think Bette Midler at the baths in full cabaret mode. The London singer’s stunning second act has been shaped by her predominantly queer fandom, whose appetite for glamour has found a perfect mirror in Ware’s increasingly liberated sound.
A career-redefining response to 2020’s What’s Your Pleasure? kicked off the 41-year-old’s current trajectory, which saw her secure her first Mercury Prize nomination in nearly a decade, and expand her live profile with a Harry Styles support slot run and a slew of key festival slots across Glastonbury, Mighty Hoopla and Primavera Sound. With the release of Superbloom, the stakes are only set to get higher. 14 years on from her debut LP Devotion – an era first teased its author’s command of dance music, via collaborations with Disclosure and SBTRKT – Ware will play London’s O2, The Hydro in Glasgow and Manchester’s Co-op Live at the end of 2026, marking her first-ever arena headline shows.
For an artist like Ware, who has gradually reinvented herself into a modern pop torchbearer, these bookings speak to a journey that has steadily gathered force and confidence. “The energy is going to be amazing,” says Ware, speaking to Billboard U.K. over the phone about her forthcoming tour. “I’m trying to enjoy these moments and not be scared by them.
It’s taken me nearly 15 years to get to The O2, but I wouldn’t change that for the world. I’m definitely going to revel in that night, for sure, because it’s taken a lot of hard work and some highs and lows to get there.” The newer material feels primed for her biggest stages yet: Ware adopts the alter-ego of ‘Shirley Bloom’ on standout “Don’t You Know Who I Am,” her voice expanding heavenwards, soulful and melismatic. “Ride,” meanwhile, pairs the disco-house futurism of Beyonce’s Renaissance with the country reimagining of follow-up Cowboy Carter, giving The Good, The Bad and The Ugly theme new life, while “I Could Get Used To This” exudes “Venus energy” with its luxurious, shimmering synths.
Taken together, the tracks unveil a series of high-drama personas, unified by an overarching theme of reinventing oneself. Here, Ware tells Billboard U.K. about the next chapter in her artistry, from her “major” plans to bring Superbloom to the stage to what it means to be truly stepping into her power. Superbloom is your sixth studio album.
Do you tend to go into the making of a record with a sense of what you want the record to be, or does that reveal itself as things unfold? For the last couple of records, I have gone into the studio with this very strong sense of what I wanted it to be. Then this time – which kind of threw me – the record that I thought I was making was going to be this kind of big, banging dance thing, but it just wasn’t coming.
I think it took experience and confidence to be able to go, “You know what, I thought this was the record, but this isn’t meant to be. Let’s see what’s really resonating.” I needed to live my life a bit, and I wanted to enjoy exploring and expressing that. Once I had the song “Automatic,” which has this beautiful, relaxed groove and an electronic sample but it also felt soulful – it felt like the perfect marrying of the two kinds of worlds that I wanted to make.
I learned about patience and trusting my gut with this album. There was a fork in the road moment where I thought I could do this kind of hyper, pop-dance record and it just didn’t sit completely right with me – so I went the other way. I’m really proud of the results.
What’s something new you allowed yourself to do on this record as you fully stepped into that confidence? I think what’s been an eye-opening thing for me is having footage of me in the studio and seeing how, I mean one could say “boss’”.. I’d like to say lead!
I realized that I go 500 miles an hour in the studio. But bless my gorgeous producers, who have such patience and allow my mind to dart off into all different places, and manage to still bring all that together and all my ideas. When looking back at the footage, I was like, “Oh wow, I don’t stop.
I’m actually quite exhausting.” And thank God these people suffered me… On your last headline tour, you performed an electrifying cover of Cher’s “Believe.” What’s the next diva anthem you’d like to tackle? God, “Believe” was just such a great one to do! I think there’s plenty of scope to get another cover on the setlist.
I don’t know, I think I may put it to the fans and see what they fancy me singing. To be honest, that could be quite fun, and see if there’s a general consensus. I haven’t really thought about a cover