Fourteen-time Grammy award winner Alicia Keys has done it again, setting the music industry alight with her fifth album, Girl on Fire, released on November 27.

Following 2009’s The Element of Freedom, Girl on Fire returns to what Keys does best, seamlessly weaving modern R&B and soul with classic jazz and blues. The myriad of piano ballads and mid-tempo anthems on the album showcase her continuing ability to transition emotively from the lowest registers of her contralto voice to the edge of her range with the restraint atypical of a musical diva.

One of the more memorable songs, “Girl On Fire” highlights Keys’ vocal vigor through its powerful chorus that wholly accentuates the smoky tone of her voice. The album’s lead single, with its fierce introduction of Nicki Minaj’s dynamic rap accompanied by a hammering drum beat, is an infectious, confidence-boosting, and empowering anthem that is bound to find its way into any listener’s spirit.

Much of Keys’ success is derived from her own songwriting and producing talent, in addition to her wide array of collaborators. Tunes written with Scottish musician Emeli Sandé catch the listener’s ear with insightful lyrics and Keys’ trademark captivating piano solos, converging for a greater pop record. In “Not Even the King,” the pair’s lyrical eloquence flows well, with Sandé’s contributions augmenting the poetry of Keys’ verses.

Even so, the veteran singer-songwriter continues to subtly experiment with her sound, this time with hints of funk and reggae à la Bruno Mars and dashes of retro sophisti-pop in the same vein as Sade.

Particularly, “New Day” stands out in the album by its clear reggae characteristics, including its call and response technique and articulation of the chorus. Surprisingly, Keys’ voice suits this arrangement’s merciless drum beat, creating a song that is addictive enough to be a sure-fire mainstream hit.

On the other hand, the elegant “Listen to Your Heart” not only reflects Keys’ origins in jazz but also suggests a potential direction towards a fusion of smooth jazz, funk, and soft rock with the modern take on tasteful old-school club music.

Despite these slight, refined adjustments to her music, Keys’ one weakness is her propensity to write songs of the same mold with similar tempo, chords, and subject matter, causing many of the latter songs on the record to be easily mistaken for each other upon first listen. However, as the saying goes, if it ain’t broke, don’t fix it–“Girl on Fire” successfully shows her growth while continuing to exemplify her aptitude for passionate ballads.