It took John Mayer one listen of The Night Game’s debut track to book them onto several of his upcoming tour dates, which is the equivalent of a knighthood when it comes to modern pop credibility.
This top down anthem is laden with synth, lavished with Phill Collins drums and sang with a swagger. Martin Johnson sounds closer to Sting on this track than to his previous venture Boys Like Girls; an incredible, humbling transformation.
This song will carry you into the summer and towards a sunset of nostalgia with its infectious positivity and huge chorus. The director of Drive is kicking himself that this was released in 2017.
Not many song writers are are as honest, to the point and self-deprecating as James Veck-Gilodi. But also, not many can turn rocky anthems into melodic ballads so consistently either.
With this in mind, Deaf Havana utilises these strengths perfectly in England, to create another solid effort worthy of the previous album Old Souls’ back catalogue.
We’ve all had the feeling that our hometown is stifling, but all the same, it’s the source of a love hate relationship that makes us who we are. You’ll take punches yourself at every opportunity, but if a stranger throws one, you’ll throw them under the bus. That’s what Veck-Gilodi conveys on this track that is funky, soulful, catchy and incredibly relevant to all things typically English and angsty.
England packs a punch in parts, but is vulnerable enough in the right places also, to make for a song that only grows with each listen.
The last few years have been the resurgence of the pop mega-hit. Acts like Justin Bieber and Ed Sheerhan have dominated international radio waves, setting chart records alight by returning to a simple pop formula, but carrying it out in a way that appears so effortless, nonschalent and relaxed.
This can be explained by the infusion of tropical house into mainstream pop music. Delicate synths, sharp snares, metal drums and warm guitars are commonplace in the charts these days, showing hues of a Caribbean vibe. An honest dissection of chart music at it stands will show this as a true assessment. One needs only point to tracks like Sorry, What Do You Mean, Shape of You or I Took A Pill In Ibiza for obvious past examples.
Despite having number ones and billionaires of YouTube views himself, Ryan Tedder has somewhat sat on the sidelines on this front. He possesses the craft to produce the perfect pop song, but has quite admirably strived for something that is a bit more interesting. However No Vacancy marks One Republic as showing the rest how it is done, finally delving into tropical house influences on a four chord basis himself.
This is an instant summer classic that will fill world airwaves until the sun sets on the carnival season. Bouncy, energetic and addictive, this will be a number one. Tedder’s voice is natural, but second to none again, as he leads the way in a track that can only be rightly described as a banger.