Bic Runga – ‘Red Sunset’ Review

What does Bic Runga sound like?

Acoustic rock meets French pop in the 60’s for this welcome return.

The review of ‘Red Sunset’ by Bic Runga

15 years since her last original material album (although 2016’s Close Your Eyes is great), Bic Runga returns with her sixth studio album. Having been in a “professional slumber” as she called it, she wanted to bookend her parenting years by travelling to Paris. She adored it before parenting, and her last visit created her 2025 album ‘Birds’. Returning in 2025, she got to see it through her children’s eyes. This inspired a creative outpouring that became ‘Red Sunset’, announcing Bic Runga’s return to the music scene.

In many ways, nothing has changed. Bic Runga is one of the most economical songwriters I know, with perhaps Laura Veirs as a rival. Most songs are done in under three minutes and rarely feel like they are incomplete or rushed. I feel like Bic Runga has used this album to explore her 60’s rock era. That said, the electronic approach that Runga had hinted at in her debut album’s liner notes fronts the opening of the album. After the airy, plinky introduction of ‘Glass Atrium’, which was, you guessed it, recorded in one, we’re into the title track. Rigid electronic drums and a 70’s waspy bassline led the way with stark minimalism. Bulbous keyboards will wax and wane around the chorus, whilst Bic’s light and romantic vocal drifts ethereally over the top. This is Bic’s Donna Summer moment, but it’s decidedly more seductive. Think a 2am dark alley frisson, rather than a psychedelic whirlpool. Whilst electronics that sound straight out of Gershon Kingsley’s ‘Popcorn’ pop out across the album, it’s the haunting ‘Paris in the Rain’ that embraces the electronics fully. This ethereal, whispered piece is backed by a storm, and its thunderous rain is one of the main instruments. Add a throbbing bassline and simple kick drum to give the framework for a superb, moody bop. These tracks excel in their minimalism and their nods to French electro pop. The French influence creeps in throughout, but these are the surprise tracks that fully embrace French pop.

The rest of the album embraces more of a 60’s rock vibe. The tambourine and dramatic western percussion and organs of ‘Ghost in Your Bed’ are dusty, deserty, and camply dramatic. Between the organs and acoustic guitar solos, an incredibly catchy riff develops that Bic layers vocals over. She is her own Cowboy folk female vocal troupe multiple times across the album, but this arrangement is a particular highlight. ‘It’s Like Summertime’ is the only track daring to get close to four minutes, and is the incredibly funky and smooth soul track of the album. Every instrument is up close, including the sparkly and bubbly synths that love the wammy bar. Bic’s vocals, drenched in reverb, are a pristine and delicate delight. Again, it’s new territory and a vibe she writes and produces for exceptionally well.

‘Escape From Planet Earth’ is a lush acoustic rock number that feels like it could be a theme song for a mature children’s adventure series. As the title is sung over and over, the track rises up with a lofty synthy wire that pitch-bends like it wants to be on a Beatles album. It’s rather cute and reminds me of Utada Hikaru’s more adult contemporary albums. The up close production leans into audio peaking for ‘You’re Never Really Here (are you baby)’ to make the electric piano-led track crackle and distort. It gives a retro warmth to the cute and airy track, but I think I’d prefer less distortion in the mix. It’s purposefully saccharine to maintain a breathy, domestic-bliss-turned-lonely-hearts-column vibe. I think that’s why its grittier electric piano peaking is a stylistic choice to roughen the sweetness. Maybe it’ll grow on me over time. ‘Won’t You Come Home’ is more of a radio-friendly hit. It’s a great slice of jangle pop, with strong guitar leads, a catchy chorus, and a vintage rock feel that I find New Zealanders do so well.

Organs feature heavily on this album, and ‘Hey Little One’ lets organs lead. The French influence returns here, with the damp heat being overtaken by intricate guitar collages and beautiful vocal arrangements for the chorus. It’s like a Peter Gabriel ballad met Phil Collins in the school playground, and they wrote a song about parenting. ‘Home Run’ sounds like a song that could have been written for ‘Beautiful Collision’. It’s a triumphant finale and one of the strongest tracks on the album. The merger of piano, synth, guitar, and Bic Runga’s vocal range is sublime. It’s the only time Bic flexes her voice, and it’s also one of the few conventional melodies to rise up and sway to.

It’s great to have Bic Runga back, and with ‘Red Sunset’, she shows that her creativity is well and truly flowing. I can hear elements of previous albums as welcome callbacks, but also plenty of new elements. The French pop influences are bold and sparkling, and Runga’s turn at soul is also a hit. It’s great to have a songwriter who embraces the craft of economical songwriting return to show how a 30-minute album can feel complete. Welcome back, Bic Runga. Let’s hope this sparks a second arc of releases.

Recommended track: Ghost in Your Bed

---

Support Higher Plain Music

Higher Plain Music is part of the Higher Plain Network – a one-man indie media project. If you like what I do, please consider supporting me via Patreon for as little as $1/£1 a month. In return, you’ll receive additional perks for supporting me, such as behind-the-scenes content and free downloads. You can also donate using PayPal. Sharing the website helps too or using the affiliate buy now links on reviews. I receive a few pence per Amazon sale. All your support will enable me to produce better content, more often. I’d love to make this a full-time media network and your support can make that happen. Thank you.