An abiding love of classic soul, twangy rock, and R&B has always been at the core of
Rick Astley's pop sound. It's an organic blend that he's been increasingly digging into since 2016's
50 and one which underpins all of 2023's
Are We There Yet? His third album to be produced out of his home studio in London, the album feels like a love letter to the earthy, blues-influenced work of artists like
Bill Withers and
Otis Redding. Central to the album is "Dippin' My Feet," an infectious, country- and gospel-tinged rocker that nicely evokes the similarly rootsy, throwback style of Oklahoma singer
JD McPherson. In fact, it's easy to imagine
Astley hearing the rise of roots-inspired artists like
McPherson and even singers like
Hozier (another possible touchstone for the sounds at play on
Are We There Yet?) and finding common pop ground. Here, he takes a back-to-basics approach, framing his resonant baritone in ringing piano and organ flourishes, crisp acoustic guitars, handclaps, and warm backing vocal harmonies. While the album certainly has a lovingly crafted, analog quality, there's a raw immediacy to many of these tracks, as if they were recorded live-in-studio or captured at a passionate church service. It's an earthy vibe reflected in
Astley's vocals, as on the gospel-influenced "Never Gonna Stop," where he takes on the throaty intensity of a blues singer. Other evocative sounds pop up elsewhere, as on "High Enough," a minor-key number with echoey vibraphone accents that brings to mind the yearning atmosphere of a
Chris Isaak song. Similarly, "Forever and More" has the crisp, guitar-driven soulfulness of an '80s
Style Council track. Certainly, all of the rootsy soulfulness
Astley embraces on
Are We There Yet? is far removed from the studio sophistication of his early hits. That said, it feels genuine and hard-won by age and experience. With
Are We There Yet?,
Astley hasn't just arrived, he's come into his own. ~ Matt Collar
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