Nashville country vocal group Lady Antebellum has made a strong impact in the contemporary country world with the release of their most widely renowned single “Need You Now,” a song that romanticized drunk-dialing ex-lovers.
After their second album went double platinum, selling approximately 3 million copies and producing three chart-topping singles, Lady Antebellum’s third studio album arrived in stores Sept. 13.
And if there is any issue with Lady Antebellum’s latest album, it’s where it stands in comparison to the sophomore album.
Though the trio may have “owned the night” at the 2011 Grammys when they took home five awards, “Own the Night” isn’t a very aptly named title for Lady Antebellum’s latest album since it fails in comparison to the country-pop trio’s Grammy-award winning second album, “Need You Now.”
That doesn’t mean that “Own the Night” is a disappointing album; it isn’t. It just doesn’t fill the gigantic shoes left by the breakthrough success of “Need You Now.”
The album is still an incisive, touching dissertation of a subject the trio found a comfort zone with: relationships that teeter toward the complex.
“Own the Night” features plenty of raw emotions mixed into the lyrics and the harmonizing vocals of Charles Kelley, Hilary Scott, and Dave Haywood.
Leaving out the enduring country elements such as the twang and two-step, most of the tracks contain more of a watered-down, smooth soft rock sound, making Lady Antebellum sound like a countrified Fleetwood Mac.
The album starts off with the second-released single, “We Owned the Night,” which surprisingly makes an inapt subject like one-night-stands sound almost as beautiful as watching the crystal blue waters of Costa Rica.
With strong lyrics like “We woke under a blanket/ All tangled up in skin/ Not knowing in that moment/ We’d never speak again/ But it was perfect,” Kelly’s raucous vocals sell a song that shines a light on situations where love seemed ideal.
A change in mood occurs when the album switches to its second track and crossover hit, “Just a Kiss,” a decent song that is saved by the trio’s vocal ability and provides reminiscence of ‘80s power pop.
One of the most noteworthy tracks is “As You Turn Away,” which could be more appropriately titled “the events after ‘Need You Now’.”
This song, driven by a bucolic piano score by Haywood, is an excellent exemplar of what the trio is best at, which is informing listeners of complex, amorous situations.
While the album doesn’t contain much variety in terms of theme (the subject of the entire album is mostly love), it provides its fair share of upbeat tempos and finger-snapping rhythms with tracks like “Singing Me Home” and “The Love I’ve Found in You.”
These toe-tapping numbers, however, feel like they serve as nothing more than a break from the numerous ballads the album contains.
An album like this would have benefited more from the addition of more buoyant tempos and less on mood music designed to put its listeners in a rollicking, relaxed state.
The soft melodies themselves feel lacking, not possessing the sense of consequence and urgency that made “Need You Now” so appealing.
These ballads are pleasing but hardhearted, smooth but missing the singers’ ability to converse what they are singing about.
Nonetheless, “Own the Night” is a satisfying installment into Lady Antebellum’s discography, containing plenty of soulful harmonies and pop-county tempos.
Since this album contains tracks more proficiently composed than others, this review would have been easier if the songs were reviewed individually rather than the album has a whole.