Review Summary: Jason Aldean copies and pastes past ideas while also trying to take his sound to new heights, failing miserably at both.
We've undoubtedly entered the early aftermath of bro-country and it's an interesting benchmark for the genre's current state. As simmering up-and-comers claw their way to mainstream success, Jason Aldean finds himself much more enigmatic than before; no longer the rising upstart who treated us to jacked up, southern rock histrionics on 2010's
My Kinda Party. Aldean's sonic identity varies project to project. And on
Rearview Town, it appears a watered down, diet version of 2014's
Old Boots, New Dirt is the next destination. Does it work? NO. Despite how modern and un-rudimentary the album is, it's also nothing new at all.
"You Make It Easy" couldn't have been a duller choice for a lead off single. Overly flushed out synth washes drown out any instrumental prowress that could have seared through the veins of this track and Aldean sounds tired and phoned-in throughout. "Set it Off" is especially streamlined, backed by choppy basslines and middling guitar work. "Gettin' Warmed Up" stumbles its way through pop and hip-hop overtones and Aldean, the whitest man in the room, tries his hand at rapping. It may have worked on "Dirt Road Anthem", but it certainly doesn't here and past hit single "Just Gettin' Started" is clearly retraced with minor tweaks. Miranda Lambert is given a guest spot on "Drowns the Whiskey" but exclusively contributes only backing vocals with no chance to let her pipes shine on their own.
The album also suffers from a lack of lyrical depth. For all the clamor that Aldean's last record, 2016's
They Don't Know was consolidated red meat, at least the songs were well executed. You also had songs like "A Little More Summertime" and "In Case You Don't Remember" that discarded the predictable, flowery imagery for brooding, thematic tension. That goldmine hasn't been looted nearly as much this time around, "High Noon Neon" being the only immediate example. Playing like what could be the plot of past singles like "Night Train" or "Big Green Tractor" gone awry, Aldean sounds much more earnest and the adult contemporary pulse drives the track's hungover sentiments.
"Love Me Or Don't" tries to follow the same mold. On this track, Aldean doesn't whine and beg his lover to come back, but rather challenges her to be honest about her true feelings. An almighty catchy hook would have sufficed, but the track never reaches that boiling point it feels like it's destined to hit. The album's title track features some solid guitar slicks, but is handicapped by middling production value. "Better At Being Who I Am" sees some self acceptance out of the track's protagonist and it's no surprise that two of Nashville's finest, Wendell Mobley and Neil Thrasher, helped pen this, one of the album's few highlights.
"Ride All Night" plays like a child cheating off his classmate's test. Luke Bryan's "I Don't Want This Night To End" is quietly copy and pasted for this track, literally all of that song's imagery being used in the same context. "Up In Smoke" is a bit of a saving grace, much more fluid instrumentally, while "I'll Wait For You" features a much needed soaring chorus with some southern rock tinges. These, matched with "High Noon Neon" and
Rearview Town closes somewhat strongly, but not without some
abysmal hiccups along the way.
It's hard to gauge where Jason Aldean goes from here. This album was completed just before Aldean inconceivably found himself running from gunshots in Las Vegas last October, making some moments here a tad more omnious. As for the music without the somber context, it's evident bro country is fading and the stars who brough the sub-genre to light are looking for a proper response. Jason Aldean is definitely better suited for arena-ready rockers like what was seen on
My Kinda Party and
They Don't Know. It's clear on this album it's not a proper showing for his usually great singing abilities and it's in no way convincing as a potential live show formula. The album has its moments but stifles momentum and progress at almost every turn.
