CD: Gary Barlow - Since I Saw You Last

The man band and X Factor princeling aims squarely and somewhat insipidly at Radio 2

Like his sometime nemesis Robbie Williams it’s all too easy to dismiss Gary Barlow as lame mainstream tosh. In fact, that’s not such a bad idea. Let’s do that. Job done.

Those who wish for more might like to check the next page

Alternatively…

Like his sometime nemesis Robbie Williams it’s all too easy to dismiss Gary Barlow as lame mainstream tosh. This is especially the case if you were male and young in the Nineties for then you’ll have borne the Take That-mania of hormone-addled female peers (as well as the crappy disco-pop that accompanied it). Nowadays Barlow’s media presence is ubiquitous, irritatingly humble, likeable even, albeit thoroughly bland. Weirdly, so a recent poll by a mattress company told the world, he’s the man most women would like to share a bed with, somehow beating Ryan Gosling into second place. None of this makes it easy to take an unbiased approach to his music.

However, forget his public profile for a moment. Listen to his album alongside a current hit pop album, say Katy Perry’s latest, and suddenly his song-writing seems elegantly crafted, his production spacious. Unfortunately it’s also unrelentingly wet. With Take That’s Stuart Price-produced 2010 album Progress, Barlow and co. proved they could deliver pop that was modern, adult, and engaging. Since I Saw You Last is much more middle-aged and middle-of-the-road. Even better numbers, such as the likeable strummed country chug of “Let Me Go” have had their character polished away.

Barlow knows his way round a tune but lathers everything in too much perky good cheer (the opening church organ-laced “Requiem”) or tragedian levels of woe (the forlorn piano ballad “Dying Inside”), all with irritating and very 21st-century self-help/empowerment lyrical tics. Alongside some stinky rhymes (“tragic”/”Titanic”) and an autopilot duet with Elton John, his latest set of songs display an interest in religion, especially on “God”, although he doesn’t appear to be proselytising. There is something of Paul McCartney about Barlow's work and persona, the niceness and smiley opaque frontage, but this album shows none of McCartney's occasional sense of adventure and is the worse for it.

Watch the video "Let Me Go"

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
His song-writing seems elegantly crafted, his production spacious - unfortunately it’s also unrelentingly wet

rating

2

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more new music

Young composer and esoteric veteran achieve alchemical reaction in endless reverberations
Two hours of backwards-somersaults and British accents in a confetti-drenched spectacle
The Denton, Texas sextet fashions a career milestone
The return of the artist formerly known as Terence Trent D’Arby
Contagious yarns of lust and nightlife adventure from new pop minx
Exhaustive box set dedicated to the album which moved forward from the ‘Space Ritual’ era
Hauntingly beautiful, this is a sombre slow burn, shifting steadily through gradients
A charming and distinctive voice stifled by generic production