Showing he is more than just a man who can write a punchline into a pastiche of a popular song, Bret McKenzie made a deliberate and conscious move to make sure his debut album wasn’t perceived in the wrong way. Songs Without Jokes was a pleasant if not slightly unremarkable step into the world on his own terms. With a handsome cast behind him, he sparked some joy, fit musical pieces neatly together, and showed that’s got solid songwriting chops beyond his Flight of the Conchords fame. While no one in particular was calling into question his ability, Songs Without Jokes felt like McKenzie was trying to reset the dial on his own terms. He was making the music he wanted to, but cautiously so.
With his new album, Freak Out City, McKenzie carries on with this intention, this time with better spirits. The New Zealand musician once again gathers a talented ensemble to back him and decorate his songs, and he saunters into genres he’s fond of with a likeable gusto. Like his previous effort, Freak Out City is at its best and most enjoyable when McKenzie is leaning into the party mood. The title track is an infectious samba-inflected rollercoaster ride that acts as a cautionary tale of getting caught in conspiracy theory rabbit holes and misinformation on the internet (“If this could happen to you / Then it could happen to me”); amidst all the overzealous “woahs”, look out for the trombone that enters at the end, sounding uncannily like a slide guitar at first. Opening track “Bethnal Green Blues” has McKenzie hammering piano chords over a peppy swinging rhythm and chunky guitar parts, creating something between a Van Morrison and Kaiser Chiefs track. Meanwhile, “Too Young” brings in a New Orleans street party vibe, which serves as a fun contrast to its lyrics warning of getting old.
Elsewhere McKenzie shows his keenness for other genres. “Highs and Lows” (which really should have been the lulling final moment for the album) is a carefree Nick Drake-inspired folk ballad, doused in pillowy strings, while “The Only Dream I Know” (an unused track based on the children’s book Thelma the Unicorn written for Brittany Howard to sing) is similarly adorned and pretty. Written as ode of love to his kids, “All The Time” is sweet and sentimental (“When you’re as old as me / Who knows what this world will be / But you‘ll always be a miracle”) while on “All I Need” the focus shifts to McKenzie’s wife (“There’s something in your eyes / Brings music to my ears”) and is equally charming, albeit a little disposable for those who aren’t the song’s subjects.
While Freak Out City benefits from being more vibrant than its predecessor, it still stumbles along the same potholes. Though never unpleasantly so, some tracks outstay their welcome and feel at least a minute longer than they are. “All I Need”, contrastingly, finally locks into a one chord riff in the last minute, and just as it sounds like it’s about to build up and let loose, it fades away. McKenzie’s wry and cynical humour does show itself more openly here (how’s “You hear about the guy up in Bethnal Green / Lost his life under a drink machine / What a way to die” for a wry opening line?) but he indicts the world with such a casual tone that the impact of the song’s meanings and messages get lost. “Eyes On the Sun”, for example, feels more about the bright summery arrangement than any kind of climate change warning that it speaks in the lyrics. And like with Songs Without Jokes, the album lulls when the mood does, despite the colourful production and instrumentation. Listening can feel like a game of waiting for the party to come back around.
While McKenzie evokes and takes inspiration from plenty of stalwarts (Van Morrison, The Beatles, John Prine (whose “That’s the Way That the World Goes ‘Round” is given a likeable twist here thanks to a Wurlitzer)), the main comparison I keep coming back to when listening to Freak Out City is Hugh Laurie. Similarities in their foray from TV musical comedy to Hollywood aside, their recorded music bears a lot of similarities: both talented pianists showing off their range and skill, they are making the music they like and want to, and they make it all the more appetizing thanks to the cast of talent around them. A little adult contemporary, but enjoyable through and through; a little bit of cheese and schmaltz, but from a homely and sweet place. McKenzie still sounds like he’s trying to prove himself to the world, but at least this time around he’s having a lot more fun while doing so.
