In Brief: Eh… it’s another Switchfoot album. A little heavier on the ballads and programming than I would like, but it’s not terrible. Every now and then, the band tries something inventive here that updates their sound just enough to not seem like it’s old hat. But a lot of it is Switchfoot by the numbers, which admittedly is kind of a tricky thing for them to avoid now that they’re 11 albums deep into their career.
Artist: Mae Album: Multisensory Aesthetic Experience Year: 2018 Grade: B- In Brief: Mae’s long-awaited comeback album is about half comfort food for those who loved their heart-on-sleeve style of high-octane pop/rock, and about half experimental/progressive stuff, not all of which fares as well as the band seems to have hoped. I’m thrilled to have them back, but wish they’d taken a little more care to make the final product a bit more cohesive.
I’ve gotten that reaction from a lot of people when I tell them that Jars of Clay is my all-time favorite band, or when they notice me wearing one of the old, raggedy shirts I bought at one of their concerts ages ago. I try to take it in stride, because to most of the world, the band is considered a one-hit wonder. (Heck, there’s even a YouTube show about one-hit wonders that I got into because they did an episode on the band’s mid-90s crossover hit “Flood”.) Even to folks who were super into Christian rock and came of age around the same time I did, who are more familiar with the band’s work than just the one song, they tend to like the band’s first album and not really know or care about much of their work after that point. It gets difficult to explain to folks that: (a) Yes, they still make music after all these years, (b) Yes, they’re all still Christians, (c) No, they never had another mainstream hit and they were probably better off not angling for one, and (d) They’ve massively improved as artists since that already excellent first album.
Artist: Kevin Max Album: AWOL Year: 2018 Grade: B+
In Brief: KMax once again proves himself to be more of a musical chameleon than a profound poet or a true innovator… but he obviously had a lot of fun taking a trip down memory lane on this heavily 80s-influenced album, and that makes the music quite infectious, even if it might not be terribly original.
Deep into Katie Herzig‘s set at the Troubadour in West Hollywood last night, as she was playing an acoustic version of the fan favorite track “Hologram” by request, two odd realizations suddenly came to me:
Wow, this was the first Katie Herzig song I ever heard, and that was 10 frigging years ago.
Why wasn’t this song a huge hit?!?!?!
Now, there are a ton of more-or-less independent artists I follow who seem to have a strong cult following on the Internet, and who I could get salty about in terms of the mainstream pretty much ignoring them. But a lot of them make music that might not be “catchy” in the conventional sense, so I’m cool with it not being mainstream radio fare. Katie Herzig, though, seems to be the type of unabashedly poppy singer.songwriter who should have had a real shot at some hits back in the late 2000s. I probably only think that because I’ve always been super out-of-touch with what it takes to actually make music popular, but regardless: “Hologram” was a fun, upbeat, ridiculously catchy, self-effacing song about relationship failure that should have found a much larger audience.
Jon Foreman’s “25 in 24” tour provided not only a fascinating behind-the-scenes glimpse at how his unlikely feat of performing 25 shows in 24 hours came to be a few years ago, but also reminded fans of just how deeply his conviction to live each and every hour of life he’s been given to the fullest still runs. This was a breathtaking show, with unique arrangements of songs from Foreman’s solo albums and a few fan-selected Switchfoot tracks, revealing entire new worlds of possibility behind even songs I’d known and loved for close to two decades.
Artist: Barenaked Ladies Album: Fake Nudes Year: 2017 Grade: B
In Brief: I’m not gonna pretend any of this is super deep, or that the band could ever replace the unique voice of Steven Page, but it’s time for us to get over that. Fake Nudes, despite the awkward title, is a lighthearted, fun, and occasionally even beautiful pop/rock record with just enough curveballs to remind me that the group’s still got some of that old creative spark left.