In sound and look, the Grammy-nominated
Coming Home replicated one style from a bygone era with such perfectionist accuracy that
Leon Bridges risked being typecast as a malt-shop soul man. Some of
Bridges' subsequent featured appearances fulfilled that role, but others indicated that he was primed to break out and loosen up a bit. The singer and songwriter's second album similarly displays different approaches that skillfully build off and depart from the previous release.
Austin Jenkins and
Joshua Block, two-thirds of the
Niles City Sound team with which
Bridges made his debut, are involved with the majority of these songs, and are credited as executive producers beside multi-instrumentalist
Ricky Reed, who has had platinum success with the squarely pop likes of
Jason Derulo,
Fifth Harmony, and
Meghan Trainor.
Nate Mercereau is another new addition present on much of the material. Altogether, they flit across several decades with most of the songs cast in a light comparatively less dust-filled than that of the debut.
Bridges displays some hard-fought assurance on the call-and-response soul-jazz groove "Bad Bad News," where he asserts "I hit 'em with the style and grace, and watch their ankles break." "Shy," a mellow number with appealingly awry likenesses to
Al Green and
the Isley Brothers, quickly pulls
Bridges back to his modest, chivalrous self.
Bridges later clearly aims to reach a broader audience, though he only briefly approaches
Bruno Mars territory with a little uptown funk laced through "If It Feels Good (Then It Must Be)," the effervescent bounce of which is rooted in
the Whispers' "It's a Love Thing," and "You Don't Know," a second slice of sophisticated, feel-good post-disco. All these deviations, including the one that sounds like it was written for an early-'70s
Rod Stewart album, seem natural for
Bridges, who evidently had much more to explore and express than what was shown on
Coming Home. What's more, there is no pandering. Most suggestive of the singer's bright future is album closer "Georgia to Texas," a stunning and ultimately affecting tribute to his mother delivered in front of an acoustic jazz quartet. ~ Andy Kellman
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