What an incredible way to open the album. I kept listening to it on repeat until i had to force myself to keep going. The six years wait was so worth it.

"Easy on Me" was written after her son Angelo asked her simple questions she couldn't answer, like, "'Why don’t you love my dad anymore?' And I’d be like, 'I do love your dad. I'm just not in love.' I can’t make that make sense to a 9-year-old."
The accompanying music video for the song, which some might find reminiscent of her previous hit ballad "Hello," is first shot in black and white and shows her speaking on the phone while leaving a house with "For Sale" and "Sold" signs on it. She sings while driving off, the scenes interspersed with memories and music sheets blowing in the wind, after which the video changes into color.

Adele's documentation of her own anxiety and paranoia and her conversation with her son made this a different approach in the world of music . I can feel that there's more than melody and lyrics. There's a background for everyone of us and we need to listen to this background.
It's really astonishing how can a song touch you emotionally this far. Listening to this song is like pushing a button inside of us and all our bottled up emotions, fears, traumas and sorrows are all out . Everything we kept inside is just out .

Adele encourages listeners (and herself) to “go at your own pace” while working through difficult times.
“When I wake up, I’m afraid of the idea of facin’ the day / I would rather stay home on my own, drink it all away,” she sings. “Please stop callin’ me, it’s exhausting, there’s really nothin’ left to say / I created this storm, it’s only fair I have to sit in its rain.”

The conflict expressed in “Oh My God” focuses on her desire to have some fun for once, something it seems she never had the chance to do.
“I know that it’s wrong/ But I want to have fun,” she aches on the pre-chorus. “This is trouble, but it feels right/ Teetering on the edge of Heaven and Hell.” If Adele wants to let loose for once, it’s time she does so.

The Max Martin and Shellback collab “Can I Get It” is a hodgepodge of jarring ideas, alternately conjuring Oasis’s “Wonderwall,” George Michael’s “Faith,” and Aloe Blacc’s “I Need a Dollar.” It’s here that 30 starts to feel like it’s trying a little too hard, like there is a market-tested intelligence to the bases it touches in its production, though, to its credit, a useful side effect of that care is that this album comes across more like someone letting us ogle their extensive record collection and less like the sound of cultures being glommed onto.

Adele has written one of the best songs of her already-storied career. The singer-songwriter compared the song to Elton John and Bernie Taupin’s songwriting partnership, and it’s an apt description. There’s a singalong quality to the tune, both pub- and stadium-friendly. On the first verse, she examines happiness and the curiosity she’s lost as she’s gotten older and become a working woman. “When I was a child, every single thing could blow my mind/Soaking it all up for fun, but now I only soak up wine,” she sings.
By the chorus, she has a plan: She’s going to get over herself in a way that allows her to not take life or her loved ones for granted. She wants to ignore criticism, too, whether it’s from other people or herself. It’s such a universally appealing sentiment, cutting deep as Adele finds there are no easy solutions to the existential issues she’s raised.
Adele wrote the song for her and her friend, during a period when she was taking things very personally. The lyrics allowed her to explain why she needed to evolve a bit more to be present in their friendship. A different friend named Jed had suggested to Adele to start recording her moments of self-doubt, and one of those conversations about her regrets and relationship with memory makes it in at the end of the song.
“But because of that period of time — even though it was so much fun — I didn’t get to go on and make new memories with him,” she says in the voice recording of the most “turbulent” period in her life. “There were just memories in a big storm.”

Compact and subtly gorgeous, “All Night Parking” lets Adele supply her own call-and-response vocals as late jazz legend Erroll Garner’s piano serves as a backbone. Within an album of breakup and post-breakup songs, “All Night Parking” provides Adele an opportunity to let her hair down and sink into an exciting new prospect, even from afar — the trumpet here serves as a nod back from a long-distance beau.

Almost every divorce film includes a shouting match, the unsettling documentation of why two characters are like oil and water. On 30, that scene is “Woman Like Me,” which finds Adele at her most furious and spiteful as she lashes out at her man’s complacency and whiny disposition. Her words sting, thanks in part to the lack of production flourishes: the song begins with sorrowful finger-picking, but ends with Adele calling back the chorus to hammer home the fact that she’s done with lowered expectations.

“Hold On” finds Adele exhausted in her self-defeat – “I swear to God, I am such a mess” is how the second verse begins. Yet she picks herself up, thanks to encouraging piano stabs and a choir that’s credited to “Adele’s crazy friends” in the liner notes; she transforms loneliness into solitary peace, sustains herself with gradual self-belief, and nails the big flare-up in the finale.

Piano and vocals — those are the two sounds on “To Be Loved,” and they are all that are needed to produce the most masterful moment of 30. Above Tobias Jesso Jr.’s keys, Adele details the painful decision to separate from another, and the belief that true love is worth that sacrifice: “Looking back, I don’t regret a thing,” she concludes, washing away her lowest moments with the strength that they produced. “To Be Loved” may be Adele’s most mesmerizing powerhouse vocal performance in a career full of them — she lands the huge notes and tiny details effortlessly, and we’re simply left with our jaws on the floor. Speaking with Oprah Winfrey in an interview featured on the two-hour CBS special called "Adele: One Night Only" which premiered on the 14th of November, 2021, Adele revealed that "To Be Loved" from her album "30" is about her difficult relationship with her father. Before his death in April of 2021, Adele played him the entire album. "It was amazing for me and him. I think he could listen to me sing it, but not saying it—we are very similar like that," she said to Oprah.

“Love Is A Game” provides a fitting closing statement on Adele’s owned flaws and open heart, with the string arrangement here harkening back to the beginning of the album, the Wurlitzer providing some sonic depth and the ballad morphing into a roof-rattling anthem when the percussion kicks in. Consider “Love Is A Game” the album’s post-credits sequence, a fond farewell following the narrative resolution that fans should embrace.