Album Review: Fred Again -Ten Days
2 min read
Considering the fact that his music is neither ground-breaking or particularly remarkable, Fred Gibson’s (Fred Again) meteoric rise to stardom has been bizarre if not downright suspicious. I remember only three years ago, the artist was playing in a makeshift tent at All Points East, and now he’s the first dance artist to headline the Reading and Leeds festival. His latest album, Ten Days, exemplifies this, and with rumours circulating about a potential Glastonbury headline spot, one can’t help but question how such artists manage to reach the top with such average material.
Gibson’s talent as a songwriter is evident; there are undeniably some catchy hooks within the album. I Saw You, for instance, is a delicate tune that softly tugs at the heartstrings. It’s relatable and touching, with each note and lyric echoing universally experienced emotions. Even the most upbeat song on the album — the energetic Places to Be, featuring a lively vocal from Anderson .Paak — carries a tinge of melancholy, underscored by its sombre chord progression and atmospheric synthesiser tones. However, the rest of the album feels shoddy and champions mediocrity.
The opening track, One, is a poor start. It begins with an electronic pedal and disjointed spoken words from various juxtaposed voices. It lacks any real meaning. While this in itself isn’t an issue, the timing and curation of the various elements feel off. Gibson’s use of guest stars also raises concerns throughout the album. He employs some of the most talented voices, ranging from Sampha and up-and-coming Nigerian singer Obongjayar to the legendary country star Emmylou Harris. Yet rather than giving the talents of these high calibre vocalists centre stage, he criminally drowns them in robotic auto-tune.
Production-wise, despite the considerable financial backing behind this album, many tracks feel unfinished and gimmicky. Glow, which features Skrillex, Four Tet, and Joy Anonymous, is underproduced and ineffective. To make matters worse, it drags on for seven excruciating minutes. It leaves one wondering whether Brian Eno’s adopted Nepo baby might have been better off producing these tracks on SoundCloud in his bedroom.
Gibson’s fifth album lacks substance and mirrors his career—a glorified DJ descended from the Huntington gentry, propped up by significant financial backing and connections. There’s no doubt this album will be a commercial success and sell out shows at a level comparable to Oasis. However, on a deeper level, it’s uninspiring and highlights how the new DIY approach to the music industry, which has been positive in many ways, is now under threat from the growing shadow of nepotism.
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