A clear dive into the classics that has unfortunately produced something painfully Radio 2…
Hey, I’ve got nothing against Radio 2. Let’s start off on the right foot here. But as Tom Odell’s third release at the tender age of 27 he has, oddly, produced a record reminiscent of a time capsule: it’s essentially a stab at regurgitating the back catalogue of Elton John. Although he maintains his position as a well-rounded songwriter, there is just something lacking from this album that he managed to bring to his prior releases. It’s a bit bland, it’s easy to go from song to song without releasing the tracks have changed and it doesn’t have the same depth we’ve come to expect from Tom Odell.
The album kicks off as you’d expect: piano and vocal. Odell has mastered his craft and I’m not complaining when we hear a soft piano and the vulnerable tone of his unique voice. There is no denying that this is a strong and emotional start to the album. As the rest of title track “Jubilee Road” continues with more than a nod to The Beatles (particularly ‘The White Album’) in its lyricism, it’s different – but when the drums come in, it loses that spirit a bit for me and becomes a bit cliché. Before the full 5 minutes I’m kinda done with the song. It’s not leading anywhere special, in contrast to the soaring crescendo I was expecting.
Unfortunately, this a trait that becomes far too familiar throughout the album. As it continues, it becomes clear that each song is a bit of a foot-stomper, which isn’t a bad thing, but after 12 tracks it’s a bit much. A bit drab and a bit of a let-down, particularly when held against his previous two albums.
“Long Way Down” of course was a heartfelt and tender depiction of Odell’s raw passion that led him to burst onto the scene; “Wrong Crowds” was his attempt to make people dance a bit more, which I had no qualms with, but it was always going to be difficult to follow his debut (although there were a lot of standout tracks on that release). This album is his venture into…..country? No fucking clue. It’s a bit of a mish-mash of classics, that he hasn’t quite managed to pull off. We even get an almost George Michael-esque tribute on “China Doll”. Although I can see glimmers of greatness on songs such as “Don’t Belong In Hollywood!, that bring back memories of “Supposed to Be” and some of the greatest hits, it doesn’t quite get there – for me, the whole album lacks imagination. It has a bit of a go at recreating the storytelling of ‘Father John Misty’ and even seminal acts like “The Band”, but it falls way too short for me.
There are some signs of the old Tom Odell we know all too well, however. “You’re Gonna Break My Heart” is one of the more sincere tracks of the album and it brings a smile to my face to hear the familiarity of Odell’s roots. But then we have a very 80s saxophone solo stuck in the middle of the song. Why? I don’t know. For me it just brings us back to the same old rhetoric – he’s trying to expand into areas that us as listeners don’t always feel comfortable with. It’s another risk that hasn’t paid off, a recurring theme of an album that is struggling to find its origins whilst simultaneously trying to head into a new direction.
This is my first review for Platform and no, I am not a pessimist. On the contrary, Odell’s album is certainly uplifting and optimistic. Written in East London – on Jubilee Road – it details the events of the area, but for me, Odell has so much more to offer than a fly-on-the-wall of a house. I feel robbed by the blandness of the lyrical content. He’s young, but this album almost feels like he is bowing out; of course, he isn’t, and I am thankful. I will admit that I am a Tom Odell fan and I just hope that his next offering will be a bit closer to the mark.
For fans of Elton John, The Beatles, Father John Misty, The Band, The War On Drugs and anything on drive time Radio 2
You can stream ‘Jubilee Road’ here.
By Oli Aston