Review: Ed Sheeran’s “=” is mostly dispensable
November 2, 2021: The “Shape of You” singer is back. — WriterMild
Ed Sheeran returns with “=”, his first solo album in four years. But Sheeran’s “=” might not be equal to our high expectations. The four-time Grammy Award winner has been settling into his family life after marrying his childhood sweetheart and having their first child together. But this abundant period of domestic inspiration results in an iffy album made up of a few remarkable songs that are totally overshadowed by the formulaic production of the project as a whole. Having said that, a few honorable mentions are still worth checking out.
Sheeran's latest lyrical exploration centers thematically on adoration and the stunning effect of marriage and fatherhood. So, we might have expected easy success given that writing romantic songs has been his expertise all along. But the British singer’s biggest enemy this time is actually lyricism.
Singles that preceded the release of the album were: “Bad Habits,” “Visiting Hours” (as a sole promotional single), and “Shivers” — three tunes that are not representative of the project and unfortunately contribute to a comeback strategy analogous to the one he used for his previous album “÷”. Out of the 14 songs, these singles are the 4th, 12th, and 2nd on the track list. For his “÷” comeback, Sheeran released “Castle on the Hill,” a classic emotional Sheeran track, and “Shape of You,” an upbeat tune that explored a new sound, as the lead singles. Sonically and lyrically, “Shivers” is the “Shape of You” of this album while “Bad Habits” is conceptually the “new sound” track of this “=” era. But both failed to achieve the same effect that “Shape of You” had.
A questionable attempt to reinvent himself, “Bad Habits” sounds like a transient attempt to appear debauched and impersonate R&B singer The Weeknd who is known for somber but dance-worthy club tunes. But Sheeran’s is mostly boring. Singing, “My bad habits lead to late nights ending alone, conversations with a stranger I barely know,” he tries too hard to sound different that it ends up sounding indistinguishable from many indie artists who briefly touch the theme of sinful behaviors in their lyrics just to look antsy but cool. This track might remind you conceptually of Taylor Swift’s introduction to her 2017 “Reputation” era, painting a whole new rebellious image. But it is 2021 and Sheeran is late to the party.
In “Visiting Hours,” written as a tribute to his late mentor Michael Gudinski, Sheeran sticks to the familiar acoustic instrumentals and tear-jerking lyrics as he expresses his wish to visit his mentor in heaven. It is possibly the “Afire Love” of this album, although not as exciting. In defense of the authentic emotions of nostalgia and sorrow that came through, Sheeran nailed his performance in this one. The typical Sheeran sound that we all know, it is a safe bet to reassure fans that he is still the same despite the release of the edgy “Bad Habits” earlier.
“Shivers” would pass a first listen as a bop-able pop tune. But once you listen to it and “Shape of You” back-to-back, this track begins to really disappoint. Singing, “And we'll say, ooh, I love it when you do it like that, and when you're close up, give me the shivers,” Sheeran is overly straightforward with storytelling. And the cliche tropical pop production he already mastered previously worsens the impact of this track. “Shivers” is a perfect example of what would be your outcome after you watch any of the YouTube videos teaching you how to produce a new Ed Sheeran hit.
“Overpass Graffiti” does better as the third single released along with the album; it is the 5th on the track list. Bittersweet but sufficiently hopeful, you could imagine this song being part of a movie soundtrack album. And that idea of cinematic music has not been explored enough yet in his discography whether musically or lyrically. With an 80s beat similar to Kenny Loggins’s “Footloose” sprinkled with minimal electric guitar riffs, Sheeran complements the beat with enjoyable lyrics that came with the right mix of idioms, metaphors and plain speeches.
Getting into the rest of the album, Sheeran’s recent penchant to directly summarize his thoughts in an unpalatable way becomes more overt. In the opening Kings of Leon-esque stadium anthem “Tides,” he sings, “I have grown up, I am a father now, everything has changed, but I am still the same somehow,” as if he was afraid that you did not follow news about him. “Easy On Me,” a recent release by a fellow British singer-songwriter Adele hints at motherhood and growth in a much more subtle and enticing way compared to Sheeran’s attempt.
After “Tides” and “Shivers” comes “First Times” featuring Sheeran’s rhetorical question, “Ain't it funny how the simplest things in life can make a man?” Although he possibly could have done better with more creative lyrics, it is excusable because of its attempt to be universally relatable as he listed all the wonderful first time experiences humans have when being in love. With the guitar fingerpicking style faintly resembling that in “Tenerife Sea” or “The A Team” from his previous albums, this one feels a little too clean and unembellished. But the string harmonies and the occasional breathy vocals save this track from being too dull.
A similar emotional ballad but with a much more refined concept and production, “The Joker And The Queen” is the 6th track and is Sheeran in his element. Given how Sheeran loves having the guitar being the backbone of most of his songs, it is refreshing to hear the piano being the cornerstone for this one. His vocals are sweet and vulnerable with the whispery execution that creates genuine intimacy. The better side of his lyricism, the kind that his listeners first fell in love with, makes an impressive comeback in this song with its ingenious card game reference. Singing, “When I fold, you see the best in me,” Sheeran shows appreciation for his wife whom he believed could have chosen anyone and everyone better than him but instead stuck with him through it all.
Next is “Leave Your Life” and it is among the best tracks on this album along with “The Joker And The Queen.” Although the lyricism here is elementary, the music is interesting enough to keep us entertained. The reversed choppy piano instrumentals used as a percussive element gives a revitalizing sound when combined with his vocals that are slightly cut at the tail end of each verse. A sense of minimal unease created by these effects brings in anticipation for our ears, which is what this track list lacks musically in overall.
Hopeful and upbeat, “Collide” is another decent tune. This song incorporates chopped vocals and calls-and-responses during the chorus, which are not too common for his songs but are much needed because they keep us engaged. The use of swelling wind instrument sounds also added another layer of ear-candy.
“2step” is the first time on this album where we hear some rapping. His previous projects all contained very memorable rap/hip-hop songs, but that genre is no longer the focus for this album. The overused trap beat here in particular is also not strong enough musically for repeated listens.
A hopeful bass groove reminiscent of Charlie Puth’s sound, “Stop The Rain” sees Sheeran employing the weather and the environment as the theme. The message about remaining optimistic is nice but Sheeran once again lays it all out for you, leaving no room for wonder or analysis.
The folky “Love In Slow Motion” sounds a bit like an outtake from his “÷” album. Singing in the pre-chorus, “Baby let's slow down time, maybe just press rewind, darling that dress reminds me of the first time,” Sheeran sounds cliche with these hackneyed lines when compared to songs by newcomers as well as his younger self.
“Sandman” is the second to last track on the album and is probably added just for the “Awe look how sweet” factor. Although this album feels formulaic, maybe this track makes the album personal to Sheeran after all. It is cute, but raising a toddler is a very specific and fleeting period. Most of his fans are either younger or already find their teenage child a headache.
Following “Visiting Hours” is the last song “Be Right Now.” It sounds like a run-of-the-mill kind of last track that several artists do: either they try hard to sound matured or simply preachy without providing enough reasons for us to take their advice.
Sheeran’s “=” is mostly trite. Given its underwhelming nature, we might as well pretend that it did not happen. Anticlimactic for such an important mathematical sign, domestic bliss did not work in Sheeran’s favor when he made this album. Many artists say that great art comes from pain, and that statement rings true for Sheeran now more than ever; he might be too happy to be making any new timeless hit for at least a few years to come.
*******
Content Details: Album – = / Artist – Ed Sheeran / Release Date – October 29, 2021 / Label – Asylum and Atlantic Records
