On Objects, Isobel Waller-Bridge turns away from collapse and toward quiet. Where her 2022 album VIII traced the unraveling of a tormented inner world, this new album settles into something more deliberate. The music moves slowly, patiently, and with intention, drawing attention to details that modern life trains us to pass by. Rather than asking the listener to observe from a distance, Objects invites a more personal response, one shaped by memory, emotion, and private interpretation.

Waller-Bridge has built a career defined by range and restraint. An award-winning composer working across film, television, ballet, and theatre, she moves fluidly between contemporary classical composition, electronic sound design, and songwriting. Her music often lives in the space between structure and atmosphere, where emotion emerges not through grand gestures, but through tone, texture, and timing.

That approach has made her a sought-after voice in visual storytelling. Her film work includes Munich: The Edge of War, Emma, I Came By, Wicked Little Letters, The Lesson, Magpie, and the BAFTA-winning and Oscar-nominated The Boy, the Mole, the Fox, and the Horse. On television, her scores for Fleabag, (created by and starring her sister, Phoebe Waller-Bridge), Black Mirror, Three Women, and Sweetpea reflect an instinctive understanding of character and mood, often saying more in a few notes than dialogue ever could.

Beyond the screen, Waller-Bridge continues to shape ambitious large-scale works. In 2024, she composed an original score for the American Ballet Theatre’s new production of Crime and Punishment. Her orchestral piece Temperatures premiered at the Royal Festival Hall with the Philharmonia Orchestra in 2021, expanding her language into a broader symphonic form while maintaining her signature emotional clarity.

Her creative reach extends well outside traditional performance spaces. Collaborations with fashion houses Alexander McQueen and Simone Rocha, installations at Frieze London and the Venice Biennale, and her partnership with Royal Opera House principal ballerina Francesca Hayward on the dance film Siren all reflect a composer drawn to movement, form, and the relationship between sound and physical space.

With Objects, Waller-Bridge brings that expansive experience inward. The album does not rush toward resolution or drama. Instead, it sits with small moments and allows them to breathe. In doing so, it offers a rare kind of listening experience, one that rewards attention, patience, and presence. It feels less like a statement and more like an invitation to slow down and notice what is already there.