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Mar 29, 2024Ditching the occasionally somber tone of some of her later records, she seems to have rediscovered the glories of a classic Sheryl Crow record. Working with producer Mike Elizondo as well as longtime collaborators like Bill Bottrell and Jeff Trott, she’s tapped back into what lured us into her music three decades ago: shamelessly big-hooky records that sound terrific blasting from a car stereo and remind you that only the likes of Tom Petty could match her in that regard.
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Mar 28, 2024With ‘Evolution’ it feels like this has been an album she has been itching to make and she has done so with wisdom, purpose and candour. Truly compelling, her artistry and perspective will make us all open our eyes a little bit wider whilst continuing to hanker after the beautiful human experience.
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Mar 28, 2024The vibe is familiar but the sound is fresh and, better still, Evolution isn't ponderous: it's brisk and bright, keeping its focus squarely on the gifts that brought Crow into the Rock Hall.
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Apr 22, 2024Crow returns to basics, crafting sharp sing-along pop-rock that defined some of her more memorable hits with a small but talented combo.
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Mar 28, 2024The singer-songwriter’s twelfth studio album mostly sounds like 2000s-era Crow with some contemporary flourishes in the production. Crow’s diverse vocals are still solid, ranging from country twang to soulful croon and saccharine pop.
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Mar 28, 2024Whether Crow is tucking into the midtempo rock bohemia of “You Can’t Change the Weather,” or getting lost in the groovy R&B psychedelia of “Love Life,” she demonstrates that she is a musical everywoman, able to move from knowing convention to wider experimentation.
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Apr 2, 2024Evolution’s fatal flaw is conflating being ubiquitous and being generic.
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Mar 29, 2024Crow redeems herself somewhat with the useful chorus of the I-love-my-kids closer Waiting In The Wings, but only somewhat. Some good singles, as always, but unfortunately a long way from career highlights Sheryl Crow and The Globe Sessions. [May 2024, p.79]
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Mar 29, 2024There’s nothing essentially wrong with Evolution, but it just sounds like it’s mostly been written on auto-pilot. It’s always nice to have a musician of Crow’s calibre still active, but Evolution feels more like an inessential addition to her canon, rather than the glorious comeback it was no doubt intended to be.
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