While the middle-aged have Michael Bublé to satisfy the lack of Sinatra in their lives, millenials have Smith to fill their lack of Bublé. He’s young and hip, sure, but at heart, he’s a suit-and-keys crooner. More than hold “Lonely Hour” back, these moments cast direct light on Smith’s music. Late in the album, after Smith’s pulled out all his melodic tricks, the spare accompaniment leads to an album-ending trio of borderline easy-listening-“Life Support,” “Not In That Way” and “Lay Me Down”-but the vanilla songwriting here is equally culpable. Maybe the only difference between Smith and his audience is his triple-A tenor, which dutifully seizes the spotlight on “Lonely Hour.” The backing production is occasionally remarkable, particularly in rightful lead single “Money On My Mind,” but for the most part, it does only what’s necessary: get out of the way of Smith’s yard-bringing milkshake of a voice. Like the rest of us, he shuts people out of his life (“Good Thing”), gets too involved with one night stands (“Stay With Me”), and wants what he can’t have (“Leave Your Lover”). Far from Ocean’s bizarre, sometimes frightening realm of relationships, featuring strippers, drug addicts and military daughters, Smith makes simple connections with the listener. His recent public outing adds another dimension to his music-as if primary school wasn’t hard enough-and, when taken along with Smith’s soul-singer influence, make the odd comparison to Frank Ocean an inevitability.īut “In The Lonely Hour” resembles “Channel Orange” in these talking points alone. Just 22 years-old, Smith wrote “In The Lonely Hour” in his formative years, when crushes are as common as pimples. But Sam Smith has only been in the public eye for a few months, and he isn’t your typical fledgling star. Pop singers are typically the objects of unrequited love, not the ones casting it out.
Friday, February 17th 2023 Home Page Close Menu
0 kommentar(er)
