Every now and then you hear a voice and it stops you in your tracks. Popping your toast up before it turns to charcoal and putting your washing out on the line can wait, as everything else becomes irrelevant at that moment. All you can think about is putting your detective hat on and attaching a name to ‘that voice’.

Beth Hart has one of those voices. One that could blow cobwebs off high ceilings and scrub paint off walls. Sensitive yet powerful, smoky yet soul-drenched, fiery yet icy, passionate yet refreshingly vulnerable, it’s one of the most impressive voices the blues-rock genre has been gifted since the explosive, husky pipes of Janis Joplin. Once you’ve hurled the hurt of Billie Holiday and Etta James into Hart’s hurricane howl, you’re left with something quite extraordinary.

You Still Got Me is Hart’s first collection of original material since the beautifully orchestrated and produced War In My Mind (2019), with an inspired interpretation of the mighty Led Zeppelin (2022) sandwiched in between.

Beth’s many fans will be delighted to know she’s coaxed up another stellar record. A dozen songs, all different in style, but still trawling Hart’s reputation as an authentic and confessional performer. It’s no secret her life has been light years away from sunshine, coffee, and donuts, but it’s her fearlessness in digging deep into her soul and wearing her heart on her sleeve that builds an emotional bridge for her listeners to cross and thoroughly immerse themselves in the trials, troubles, and joys she’s experienced.

The heartfelt title track with its gorgeous string arrangement, impeccable arrangement, and sheer emotion is everything the songstress promises and delivers. Never one to shy away from expressing her feelings, the deeply personal lyrics (He asked me to lay in his arms / But I was afraid of being harmed) and gorgeous melody match Beth’s tearful lamenting.

It symbolizes the support and love of her husband Scott keeping her grounded, and family clearly means everything to Hart, as another poignant piano-led ballad “Wonderful World” passes us by halfway through. Written about her niece, it oozes optimism and a chorus that stays spinning on your axis.

There’s toe-tapping enthrallment on the light-humored, jazz-age infused “Never Underestimate A Girl”, which makes you ponder what might have happened if Amy Winehouse had gone back to rehab.

Away from the uplift, Hart isn’t afraid to get dark. Closer “Machine Gun Vibrato” (the perfect summation of her unique instrument) pushes her vocal style to the fore, punctuated by a distant vibrato over a crashing backdrop.

For the blues-rockers in the house, Slash stars on the sultry opener “Savior With A Razor,” tearing up some serrated note flurries alongside a honkey-tonk sound piano, while “Don’t Call The Police” is utterly captivating, bursting from quiet piano and Hart’s raw gasping to a seismic chorus section, followed by a spectacular guitar solo at the breakdown. If it’s not destined to be a favorite at live shows, then somebody please call 911.

Eric Gales gives us a second helping of guitar virtuosity and rock swagger on the sweet stomp of “Suga N My Bowl.” The rich tone of Gales playing off against the rapid fireworks and vibrato in Hart’s slither makes this another upbeat winner.

And then there’s the moment where we first heard the little shoots of this LP begin to surface — first single “Little Heartbreak Girl.” There’s a real singalong feel to the repeated hook, with Hart sounding triumphant, hopeful, and yet still fragile on this beautiful outpouring of resilience.

Such is Hart’s ability to turn her voice and hands to many different styles, this album is unlikely to prick up the hairs of blues aficionados. But what you do have is a very, very special talent who is as inimitable as she is moving and spellbinding. From tongue in cheek to leaving you in tears, You Still Got Me is emotionally exhausting, but well worth the battle.