Album Review: Rob Thomas – All Night Days
2 min read
We didn’t really get Matchbox Twenty in the UK. I do know, however, that they were a HUGE deal in Australia (and, presumably, the US) – my friend came back from a year working out there and was absolutely obsessed with them – but I would say most of us Brits were first formally introduced to Rob Thomas through his vocals on Santana’s global smash Smooth. The seasoned singer has returned with his sixth solo album, through Universal Records, a project that began mid-COVID lockdown (how mad was that in hindsight!?!), which I was looking forward to reviewing with no expectations, and hardly any preconceived notions of what to expect – so let’s crack on!!!
Hand in My Hand opens proceedings, an upbeat, well-polished track with great production and occasional use of what is clearly a fantastic voice, but otherwise feels a little ordinary, and that’s followed by All Night Days, which follows suit somewhat, though a far punchier track with a catchy chorus. The first of a double a side first single release, Hard to Be Happy, which gives me Freedom vibes in the guitars, in an upbeat sunshine song. I Believe It next – with a a more soulful edge than previous tracks – and then the second half of the double a side, Thrill Me, gives a slower solemn-edged track.
Latest release Picture Perfect picks up the pace again in a track with a very 80’s electro breakfast club-style track, whilst Machine has a bassline that reminds me of Duffy’s Mercy but it’s not in the same league as that track, sadly. No Good at Loving You gives us a nice, inoffensive late 50’s swing track, whilst Ghost starts slow and builds into one of the stronger tracks on the album, and Losing My Mind threatens the same format, but doesn’t go anywhere. Rounding off the album we have slow mover Back to the Start, a decent enough track, though I do feel like the last four tracks are somewhat filler tracks with no real gravitas to them.
All Night Days wasn’t for me – a bit beige with nothing to keep me interested. It was well constructed and well produced, but it really felt… safe. I’m sure fans would shoot me down, but there’s not anything on this album to keep me interested – sorry Rob!
