No, The Album isn’t here to change the game or reinvent the metaphorical wheel, but when it comes to Jonas Brothers; do they need to? It’s a nice follow up to 2019’s Happiness Begins, and arguably has little improvements that make it more solid as a record. This time around they’ve employed the production prowess of Jon Bellion (Justin Bieber, Maroon 5, Halsey) and their sound has become more pop and family friendly than ever.
Influences of Americana and 70s soul are more than apparent across the album, and while the end result can feel rather like an Eagles tribute band, there are moments that shine beyond the safety net. The brothers’ three part harmony being consistently utilised across the record is notable, whether that’s delicately on “Sail Away” or loudly on “Montana Sky,” not a note is out of place and it never gets old. Same goes for the standout track “Waffle House,” as the songs notion of brotherly love and working things out as a family in their youth gets translated into their new families, and “Miracle,” that not only opens the album with a bang, but also sets the tone for the album superbly.
While the trio have managed to keep most of The Album away from cringe of albums past and more ‘cool’ than before, it wouldn’t be a Jonas Brothers album without moments of cheese; and “Celebrate!” provides the platter. It’s a classic ‘look how far we’ve come’ moment, but unfortunately comes off as the lovechild between The Black Eyed Peas’ “Let’s Get It Started” and Rebecca Black’s “Friday.” The line “somebody celebrate with me tonight” really drives in the family-friendly vibe, and will undoubtedly be played at children’s birthday parties for years to come. It's a shame that this accessible and inoffensive lyric writing is found elsewhere too, as on “Summer Baby” the track itself is perfectly fun and feel-good, but the lyrics don’t really mean anything, and gets lost in the album (and in general) as just a ‘nice’ song.
There’s a noticeable switch-up in mood as you get towards the closing third of the album, once you hit the soppy love song “Vacation Eyes” the tempo slows and the party starts to peter out. It’s a welcome change after the balls-to-the-wall upbeat journey so far, and feels considerate to the listener as opposed to a roller-coaster up-down of emotions through a track list (think Miley Cyrus’ Plastic Hearts). The album is closed out by two other standouts on the record, as “Little Bird” plays to the emotions that come with having a growing up daughter over crowd cheers to give that live feeling, and “Walls” runs with that feeling by expanding to stadium-size motifs and productions, and closes the album with a euphoric climax.
The Album is a solid effort of accessible pop-rock, and to expect any more or less from Jonas Brothers would be foolhardy. It’s a step in the right direction away from their cringe-inducing past, and maybe it’s what’s unexpected that could really set them apart in the future.
