As the title implies, Confetti is an album of brightly colored feel-good songs, meant to light your way to the dancefloor.

The aptly titled LM5 feels like the apotheosis of this journey, and once again presents the group as an empowered pop force to be reckoned with.

Even in these weaker moments, Little Mix sing brilliantly and sound like they’re having a ball. Long may their glory days continue.

Little Mix's stylish, decade-blending synergy works, and Get Weird ends up being a lot of fun.

Salute is an undeniably solid album, and has a lot more going for it than similar efforts from many of Little Mix’s pop peers this year.

When off-kilter beats collide with impeccable harmonies and pleasingly daft lyrics, it sounds like pop as it should be .... The ballads, however, plod along with heavy-handed emotion, and are comparatively Identikit.

Though sprinkled with bops, ‘Apple’ doesn’t pack the expected punch.

Listening to Wake UP!, you get the feeling that, with a bit of added confidence and willingness to take a few more risks, English’s next album could be something pretty special.

Blips aside, ‘Rare’ is a beautifully confident return from one of pop’s most underrated stars, and a quietly defiant wrestling back of the narrative surrounding her.

It makes for a solid pop album overall, but it's a little too formulaic and predictable to rate among her best work.

Though she nods at Rihanna-style slither and Britney-esque grind, this is the sound of Gomez gliding gracefully into adulthood.

She stamps herself on rock history at every turn of the new record, commanding eighties tropes, making classic hits “uniquely hers”.

On Younger Now, she has taken control of the songwriting and production and emerges as a conservative, big-lunged, country-tinged pop star with songs about breaking free.

The album represents a brain dump of a discrete time in Cyrus’ life, an unfiltered collection of musical explorations and personal reflections. It’s an expression of pure creativity and yet another aspect of her progression into an artist committed to living her life in public, warts and all.

In a year where the pop charts’ two biggest singles sound like Jamiroquai and Emeli Sande has sold more albums than anyone else from the UK, a record this entertaining, diverse and full of surprises – and often, yes, good songs – feels like a breath of fresh air.

At times Can’t Be Tamed feels perfunctory, doing the job of showing Cyrus is growing up without making her too mature for her still-young fan base and little else.

Harmless fluff.

Many of ORQUÍDEAS' dance and reggaeton cuts go off.

All energies realign for ‘Moonlight’, which captures Uchis’ anticipation getting ready for a late-night drive, a lipsticked “dolly” admiring her own reflection.

San Miedo has broadened Uchis’ horizons whilst augmenting what made Isolation such a stirring opening statement – she deserves to have her fans clear the language hurdle to join her.