"[1] Following her conversation with Blanco in December 2016, she decided to reconstruct the album and booked additional recordings sessions with musicians such as producer Starsmith and songwriter James Newman.

[1] Next to Starmsith and Newman the singer collaborated with a variety of producers and songwriters on Glasshouse, including Julia Michaels, Francis and the Lights, Cashmere Cat, Benny Blanco and Ed Sheeran.

(2016), and Solange's A Seat at the Table (2016), and Christine and the Queens' Chaleur humaine (2014) as her major inspirations for the album, noting: "They all have such strong identities, and I wanted that.

Designed by architects John Pawson and Claudio Silvestrin in 1991, the modernist villa is a vacation house for a German art dealer set in an almond grove.

According to Pitchfork, "the eye is drawn as much to the soft, ruddy brown of the walls or the blue sky packed into a crisp rectangle above her", while Ware's name and the word "Glasshouse" are stylised in an uppercase pale pink font and located in the center of the image.

Here, tracks are discrete entities, seemingly designed and assembled by its own team of architects [...] It almost feels like Ware is trying to divert attention from herself, but she is positioned directly at the center of the album’s trembling choreography.

In the positive review he wrote that "Ware's third album is packed with finely woven adult-pop ballads about lust, longing, commitment, and reassurance."

The online newspaper added: "Glasshouse resolutely has the goods, packaging a handful of searing, bring-down-the-house ballads in an album that stands alongside her debut [...] There’s an earned earnestness to its emotional palette, even as it tumbles into schmaltzy paeans to domestic bliss.

He felt that while the singles released in advance of the album "hinted at a more robust sound [...] it still feels a little too safe," though all song "perfectly showcase Ware’s crystalline vocals – you just wish she’d step out of her comfort zone more often.

"[13] The same rating was given by Clash's Robin Murray, who wrote that Glasshouse "promised to break the glass ceiling, but instead finds the singer treading lukewarm water [...] Too often, it fails to challenge itself.