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Nothing Left to Lose in Bloomington, MN
Current price: $14.99
Nothing Left to Lose in Bloomington, MN
Current price: $14.99
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On his 2006 major-label debut,
Nothing Left to Lose
, singer/songwriter
Mat Kearney
comes across as a mix of
John Mayer
,
Jason Mraz
, and
U2
.
Kearney
has the loose-limbed, acoustic feel of
Mayer
's earliest work, but he has a hazy
hip-hop
underpinning to a lot of his songs that recalls
Mraz
-- plus, like Mr. A-Z himself, he will easily slip between crooned choruses and rapped verses. Then, he shares the sincerity, not to mention the vague Christian undercurrents, of early
, and he certainly builds on their echoey guitars and arty soundscapes throughout
, which means that he can also occasionally sound like
Coldplay
here, particularly on the relaxed epic
"Crashing Down"
and the piano-driven anthemic power
ballad
"In the Middle."
It's a modern sound, pitched halfway between
adult alternative pop
and collegiate jam bands, and since
is an ingratiatingly sincere guy, it's often appealing on a pure sonic level, even if the stylistic mash-ups occasionally sound awkward. In specific, the raps often sound shoehorned into the arrangements, sticking out like sore thumbs even when the
beats themselves go down easy -- but to his credit,
never sounds as smarmy or self-satisfied as
. There is never a moment on this album where he doesn't sound earnest and serious, a trait that would be an Achilles' heel for most singer/songwriters, but there's an inherent modesty to
that keeps him from sounding lugubrious and self-absorbed. Usually, he simply sounds likeable, thanks to his guy-next-door voice and clean, evocative production. So, he has the sound down on
, but the songs are a little uneven, partially due to the preponderance of awkward
rap-rock
cuts that sound clunky next to his
ballads
and folky
pop
, partially due to the fact that his on-record persona is so modest that his songs sound modest too. That said, his modesty is appealing, and so is
, which expands on the strengths his 2004
Inpop
debut -- quite literally, since six of the 13 songs here are remixed versions of tracks from that effort -- to position
as a promising AAA singer/songwriter, particularly for those who find recent
too muscular and recent
too cold and arty. ~ Stephen Thomas Erlewine
Nothing Left to Lose
, singer/songwriter
Mat Kearney
comes across as a mix of
John Mayer
,
Jason Mraz
, and
U2
.
Kearney
has the loose-limbed, acoustic feel of
Mayer
's earliest work, but he has a hazy
hip-hop
underpinning to a lot of his songs that recalls
Mraz
-- plus, like Mr. A-Z himself, he will easily slip between crooned choruses and rapped verses. Then, he shares the sincerity, not to mention the vague Christian undercurrents, of early
, and he certainly builds on their echoey guitars and arty soundscapes throughout
, which means that he can also occasionally sound like
Coldplay
here, particularly on the relaxed epic
"Crashing Down"
and the piano-driven anthemic power
ballad
"In the Middle."
It's a modern sound, pitched halfway between
adult alternative pop
and collegiate jam bands, and since
is an ingratiatingly sincere guy, it's often appealing on a pure sonic level, even if the stylistic mash-ups occasionally sound awkward. In specific, the raps often sound shoehorned into the arrangements, sticking out like sore thumbs even when the
beats themselves go down easy -- but to his credit,
never sounds as smarmy or self-satisfied as
. There is never a moment on this album where he doesn't sound earnest and serious, a trait that would be an Achilles' heel for most singer/songwriters, but there's an inherent modesty to
that keeps him from sounding lugubrious and self-absorbed. Usually, he simply sounds likeable, thanks to his guy-next-door voice and clean, evocative production. So, he has the sound down on
, but the songs are a little uneven, partially due to the preponderance of awkward
rap-rock
cuts that sound clunky next to his
ballads
and folky
pop
, partially due to the fact that his on-record persona is so modest that his songs sound modest too. That said, his modesty is appealing, and so is
, which expands on the strengths his 2004
Inpop
debut -- quite literally, since six of the 13 songs here are remixed versions of tracks from that effort -- to position
as a promising AAA singer/songwriter, particularly for those who find recent
too muscular and recent
too cold and arty. ~ Stephen Thomas Erlewine
On his 2006 major-label debut,
Nothing Left to Lose
, singer/songwriter
Mat Kearney
comes across as a mix of
John Mayer
,
Jason Mraz
, and
U2
.
Kearney
has the loose-limbed, acoustic feel of
Mayer
's earliest work, but he has a hazy
hip-hop
underpinning to a lot of his songs that recalls
Mraz
-- plus, like Mr. A-Z himself, he will easily slip between crooned choruses and rapped verses. Then, he shares the sincerity, not to mention the vague Christian undercurrents, of early
, and he certainly builds on their echoey guitars and arty soundscapes throughout
, which means that he can also occasionally sound like
Coldplay
here, particularly on the relaxed epic
"Crashing Down"
and the piano-driven anthemic power
ballad
"In the Middle."
It's a modern sound, pitched halfway between
adult alternative pop
and collegiate jam bands, and since
is an ingratiatingly sincere guy, it's often appealing on a pure sonic level, even if the stylistic mash-ups occasionally sound awkward. In specific, the raps often sound shoehorned into the arrangements, sticking out like sore thumbs even when the
beats themselves go down easy -- but to his credit,
never sounds as smarmy or self-satisfied as
. There is never a moment on this album where he doesn't sound earnest and serious, a trait that would be an Achilles' heel for most singer/songwriters, but there's an inherent modesty to
that keeps him from sounding lugubrious and self-absorbed. Usually, he simply sounds likeable, thanks to his guy-next-door voice and clean, evocative production. So, he has the sound down on
, but the songs are a little uneven, partially due to the preponderance of awkward
rap-rock
cuts that sound clunky next to his
ballads
and folky
pop
, partially due to the fact that his on-record persona is so modest that his songs sound modest too. That said, his modesty is appealing, and so is
, which expands on the strengths his 2004
Inpop
debut -- quite literally, since six of the 13 songs here are remixed versions of tracks from that effort -- to position
as a promising AAA singer/songwriter, particularly for those who find recent
too muscular and recent
too cold and arty. ~ Stephen Thomas Erlewine
Nothing Left to Lose
, singer/songwriter
Mat Kearney
comes across as a mix of
John Mayer
,
Jason Mraz
, and
U2
.
Kearney
has the loose-limbed, acoustic feel of
Mayer
's earliest work, but he has a hazy
hip-hop
underpinning to a lot of his songs that recalls
Mraz
-- plus, like Mr. A-Z himself, he will easily slip between crooned choruses and rapped verses. Then, he shares the sincerity, not to mention the vague Christian undercurrents, of early
, and he certainly builds on their echoey guitars and arty soundscapes throughout
, which means that he can also occasionally sound like
Coldplay
here, particularly on the relaxed epic
"Crashing Down"
and the piano-driven anthemic power
ballad
"In the Middle."
It's a modern sound, pitched halfway between
adult alternative pop
and collegiate jam bands, and since
is an ingratiatingly sincere guy, it's often appealing on a pure sonic level, even if the stylistic mash-ups occasionally sound awkward. In specific, the raps often sound shoehorned into the arrangements, sticking out like sore thumbs even when the
beats themselves go down easy -- but to his credit,
never sounds as smarmy or self-satisfied as
. There is never a moment on this album where he doesn't sound earnest and serious, a trait that would be an Achilles' heel for most singer/songwriters, but there's an inherent modesty to
that keeps him from sounding lugubrious and self-absorbed. Usually, he simply sounds likeable, thanks to his guy-next-door voice and clean, evocative production. So, he has the sound down on
, but the songs are a little uneven, partially due to the preponderance of awkward
rap-rock
cuts that sound clunky next to his
ballads
and folky
pop
, partially due to the fact that his on-record persona is so modest that his songs sound modest too. That said, his modesty is appealing, and so is
, which expands on the strengths his 2004
Inpop
debut -- quite literally, since six of the 13 songs here are remixed versions of tracks from that effort -- to position
as a promising AAA singer/songwriter, particularly for those who find recent
too muscular and recent
too cold and arty. ~ Stephen Thomas Erlewine
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