The measure of how successful they are together, as with her work with Greg Kurstin, is that Goulding’s voice and artistry comes across stronger than the production. She’s graduated to the point where she doesn’t necessarily need Max Martin to make a hit but she can work with him and she’s utilised that on Delirium with the pair forming an excellent partnership. With that in mind, there’s something really humble to her third and biggest pop-sounding record to date Delirium. Despite the fact she’s worked with everyone from Calvin Harris to Max Martin and has an arsenal of gigantic bangers, her stage show is minimal meaning she can slot into a festival with little fuss - just a band and her drums. It feels like she’s gradually made a name for herself, outside the UK at least, by delivering hit after hit and for no other reason.
She doesn’t fill gossip page fodder in the way Taylor Swift or Katy Perry does and she’s not competing for the most followed account on Instagram (although 7 million is nothing to turn your nose up at). Ellie Goulding is not you normal popstar.
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