This post was updated May 5 at 8:37 p.m.

Dua Lipa is reasserting her place on the dance floor in new ways.

The British-Albanian singer’s third studio album, “Radical Optimism,” is her first full-length project of all-new material in more than four years. Lipa’s last LP, 2020’s Grammy-winning disco fantasia “Future Nostalgia,” was released shortly after COVID-19 lockdowns began, but its singles persisted on the airwaves well into 2021. In her follow-up to the critically acclaimed hit record that catapulted her to the music industry’s A-list, Lipa maintains her signature dance sounds while introducing more themes of sadness and heartbreak into her lyrics. The final product lacks some of the exuberance and cohesion that made “Future Nostalgia” soar, but it still offers Lipa’s listeners a well-produced pop album with several irresistibly catchy new tunes.

“Radical Optimism” opens with its most buoyant song, the blissful funky explosion of “End Of An Era.” Contrary to its title, the song’s lyrics speak of new beginnings and detail the excitement and hopefulness brought by sparks flying with an attractive stranger. The warm, quick strumming that anchors the mix hints at the ukulele, and this instrumentation gives the track a loose, carefree vibe that transports listeners to the lush and romantic soundscapes of a club on a tropical island. Simultaneously playing coy and exalting because of the swoon-worthy “sweetest pleasure” her new lover brings her, Lipa sings with passionate high-pitched vocals and uninhibited joy.

Released in November, lead single “Houdini” takes the dark psychedelic production of Kevin Parker – better known as Tame Impala – and drenches it in infectious, distorted electric guitar riffs. “I’m not here for long / Catch me or I go Houdini,” Lipa taunts, her delivery striking an effortless balance between playfulness, flirtation and seduction. The dance break in lieu of a bridge and the final guitar outro are addictive, taking what could have easily been corny lyrics and giving them a haunting edge perfect for a grimy, sweat-soaked European rave.

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“Training Season” keeps the momentum running with contemplative verses and a full-throttle chorus set against a backdrop of skittering plucky synths. The song’s lyrics are in the same vein as Donna Summer’s 1979 erotic dance-rock masterpiece “Hot Stuff,” with Lipa dissatisfied by her available dating pool and in desperate need of a lover that meets her standards. Lipa skillfully portrays herself lyrically as both the femme fatale and the damsel in distress.

In comparison to the immaculate one-two-three punch of the first upbeat tracks, the pensive and wistful “These Walls” is noticeably more melancholy and midtempo. Though the song is clearly an attempt to construct an emotionally affecting breakup anthem, it suffers from the ambiguity of its lyrics, which fail to be particularly evocative beyond the idiom of “if these walls could talk.” Lipa’s apathetic vocal delivery does not help matters, singing as if the breakup described in the song happened long ago.

The album’s seventh track, “Illusion,” was released as the project’s most recent single last month. On first listen, it was easy to disregard “Illusion” as a potentially undercooked rehash of the “Future Nostalgia” highlight “Hallucinate,” but this earworm’s resilience over the past several weeks has proven otherwise. With a pounding beat, confident lyrics and a delightful melismatic chorus, the track not only proves itself as the most undeniably catchy hook on the entire album but stakes its claim as an instant classic in Lipa’s growing discography.

[Related: Album review: Dua Lipa’s ‘Future Nostalgia’ wows with throwback disco sound and relevant themes]

Unfortunately, “Radical Optimism” loses steam on the back half of the record. The existential “Falling Forever” and swelling closer “Happy For You” both fall short of providing catharsis, but the worst offense is the jarring “Anything for Love,” which begins as a piano ballad before abruptly switching into a confusingly peppy synth-pop ditty.

The one exception to these final missteps is the beguiling “Maria.” On the penultimate cut, Lipa explores a Spanish touch and expresses her jealousy for the lingering memories left by her partner’s titular ex-lover. The result provides more vivid imagery and visceral feelings of resentment than listeners may be used to hearing from Lipa.

Taking in “Radical Optimism” as a whole, Lipa’s position in the broader pop landscape will likely remain about the same following the release of this LP. Though “Radical Optimism” is not an especially ambitious project and lacks the euphoria of some of her past work, the album is still a solid release that excels at providing more of the slickly produced pop gems Lipa has built a career out of. By exploring new themes, dabbling in different instrumentation touches and drawing on sonic influences such as Kylie Minogue, “Radical Optimism” reflects that Lipa’s ear for a quality tune and gravitation to the dance floor remains stronger than ever.

While “Radical Optimism” is far from a revolution or departure, its sounds emphasize Lipa’s sensibilities for pop hooks and her willingness to keep dancing through heartbreak.