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True to its name, Extraordinary, Gareth Donkin's second album widens the scale of his virtuosic soul-pop songcraft not just on a sonic level, but in a profoundly personal way. A step wiser and more confident, fresh off a feature on De La Soul’s new album, the London-based singer-songwriter and producer lets go of past constructs to celebrate the present tense with his most sophisticated, vast, and dazzling work to date, nodding to disco, R&B, and funk greats with playful charisma and modern sheen. He says, "Extraordinary is about taking ownership of your life, embracing new experiences and adventure."

What happens after a coming-of-age album? Donkin, now 25, at the peak of his powers, would say life keeps going, it doesn't get any easier, "but you learn more about yourself, who you once were, who you are now, and what you truly want." Released on art-forward label drink sum wtr, Donkin's 2023 breakthrough full-length debut, Welcome Home, resonated far and wide — from BBC Radio to Billboard ("a soul-savant") — and brought him to SXSW for the first time. Yet his struggles to find happiness during its rollout came to a head following the release, in a year marked by setbacks and heartbreak. His first impulse was to reach for romanticised fantasy, culminating in the cathartic Suite Escape EP in 2024. "Once the EP was complete, I found myself in a much clearer headspace to dive into this new project," he adds. "I enlisted the help of some incredible musicians and artists who saw the vision and ran with it.” Extraordinary guests include ESME, Kiefer, and UHMEER, with contributions from Shaan Ramaprasad (Jamila Woods, Teddy Swims), Disclosure's Howard Lawrence, and many others.

Donkin's made a name for himself as an old soul, one-man-band in the ilk of Prince and Stevie Wonder, often seen on social media assembling songs from behind his bass, pads, and keys with mystifying ease, covering everything from pop culture mainstays like Jamiroquai and Outkast to deep cut legends like Al B. Sure!, Patrice Rushen, and The Jones Girls. His pure enthusiasm is endearing and contagious; it's impossible not to smile and nod along. Even when the world appears to be rooting for you, though, the anxiety of adulthood can consume even the most lighthearted. Behind the cheerful disposition, Donkin became overwhelmed by constant change, strain, and the dissolution of a relationship. "Listening back to Welcome Home, the world, in a way, was still quite exciting to me. I was wowed by everything, modest but a bit naive. I've had people walk all over me in the past," he says, noting a recent inflection point where he turned the corner. "I think part of getting older is navigating how to stand up for myself and recognize and acknowledge my self-worth and self-respect. I realized how much I'd been holding myself back. This album represents letting go of those limitations, surrounding myself with good people, and choosing to live fully."

Like past work, Extraordinary captures Donkin's undeniable talent and charm. What sets the record apart is the expanse in which these virtues shine, given unprecedented space to move. "It just sounds bigger, more current," he says, with a quip, "Almost like, more expensive." He continues on the leap to LP2, "Because I started the last album when I was 19, I sat with all of those songs for a really long time. I still love them, but I think that this album will continue to feel fresh to me." Donkin beams on the topic of Extraordinary touchstones. "This is a tall order and task, but I set out to make something reminiscent of people like Earth, Wind, and Fire, David Foster, Michael McDonald, Kenny Loggins, Michael Jackson, and Quincy Jones, especially Quincy, like the big horns and arrangements, the Jerry Hey horns… I've tried my absolute best to throw that in there whilst also finding a contemporary flair and fluidity throughout the project."

The cinematic opener "Out Here" sets a hopeful tone. "It's basically a love letter to LA from a Brit," he says, leaning into the 'seize the day' sensation that met him and co-producer James Berkeley on the LAX runway. "Something is changing, it's come over me / Letting my feet fly off the ground," Donkin sings in his sweetly-hued high tenor, from the school of Back to Avalon and Off The Wall. For "Where Did We Go?,” he shifts into a more subdued, reflective mood, backed by strings and slide guitar, featuring Stones Throw affiliate Kiefer on keys, whose smooth glissando sets up the next slow-jam sequence. "Never Gonna Break Your Heart" finds Donkin at his childhood piano, writing "about a flame that dwindled and left me hurt and confused." Here he's at his most soulful, deep in an R&B dream, harmonizing with backing vocals as finger snaps and kick drums give way to wobbly bass and luxurious strings.

From unifying anthems ("Sing, Everybody") to powerful self-mantras ("Please Don't Give Up!", "Don't Be So Hard On Yourself") to drama-shedding declarations ("Half Shuffle"), Donkin unlocks the kind of optimism that can only come from hard work on yourself. "Come and dance with me," he urges on "Running Away", a shuffling, unpredictable, house-infused pop song co-written and co-produced by Howard Lawrence.

The title track captures Extraordinary's prevailing sense of autonomy, with Donkin howling above a yacht-rock groove. It all fades into "Hello Sunrise", a closing coda that fittingly marks the start of a new day for a timeless artist who has found that hope springs eternal.