Twigs previously flirted with some chart success with her singles ‘Two Weeks’ and possibly her album cut ‘Pendulum’, but even those songs never meant she had to veer from her experimental electronica to accommodate success. That’s significantly changed on ‘Good To Love’, which marries a piano ballad which could have emerged from a Rihanna or Adele song with tiny electronic flourishes a bit like James Blake’s restrained electronic R’n’B. This isn’t Twigs going mainstream, because she already straddles her ‘independent credibility’ (Whatever that is) with what is undeniably a pop song underneath glitchy vocals, provocative lyrics and general weirdness. But now, the difference is that the poppy side has burst to the surface without forgetting what made Twigs original in the first place.
Even the lyrics tone down the sexual themes which Twigs typically explores, instead fighting against emotionless love by stating ‘I’ve got a right to love’ and ‘I’ve got a right to hurt inside / So will you hold me while I cry?’, which is a completely new vulnerable side for Twigs alongside the strong, dominant image she’s built up. The track is necessary to humanise Twigs and through the more organic instrumentation and exposed lyrics. The structure of the song shows Twigs is still looking to innovate where she can, trimming the verses down to two short lines and then riding the chorus for the majority of the song. If you actually think about that, it shouldn’t work at all, as there’s no climax structurally, but the song’s electronic and vocal layers build up in the last half to create some kind of payoff at the end. It’s stealthily experimental, whilst still delivering a pop song worthy of success.