TOM GRENNAN Lighting Matches [Insanity/Sony] There’s something very endearing about the rise and rise of Tom Grennan. Firstly, five years ago he didn’t even play an instrument. Or consider himself…
Lighting Matches [Insanity/Sony]
There’s something very endearing about the rise and rise of Tom Grennan. Firstly, five years ago he didn’t even play an instrument. Or consider himself much of a singer. And like Richard Ashcroft before him he had a talent for football which almost took him on a different path. But then fate – and Chase & Status – intervened and boom; everyone wanted a piece of him. Confidence grew and he now carries that party-time swagger that thankfully is backed up with the talent.
The Bedford native has a rasping bluesmen voice that defines him as an artist. Musically he has a few different facades, largely reflecting who we works with on each song. Overall you’d probably categorise him as a sort of widescreen indie pop machine. His aim seems effortless and accomplished with a definitive joie de vivre. He’s the Harry Kane of pop! Not that the story of this album is purely one of joy. It’s triumph over adversity, as his words reflect a distressed young soul finding his way in a frightening big world. And who doesn’t relate to that? “I was made out of nothing, you were made out of gold” is one telling phrase on the ballad ‘Lucky Ones’.
The album holds great interest for anyone connected to Northampton, as it contains the talents of two local luminaries. Danny Connors plays guitar, provides vocals and co-wrote recent single ‘Barbed Wire’, whilst Adam Gammage plays drums and percussion. They both tour with him too. It’s a terrific match-up, their chemistry clear to anyone from any of their recent live performances. In Fraser T Smith and Dan Grech he’s gone with producers who has crafted humongous hits for Adele, Stormzy, Plan B, Liam Gallagher and Tom Odell [to name just five]. The music is probably closer to a Blossoms though in structure – keeping it pop by focusing on a simple guitar or horn riff, and letting Grennan’s delivery take centre stage.
Almost everywhere you look here you will find gold. Opener ‘Found Out What I’ve Been Looking For’ is a bouncy anthem that will set the festivals alight this summer. ‘Royal Highness’, with its syncopated rhythms and inherent grit, repeats the Ibiza-soul trick that John Newman had going on fairly recently. ‘Barbed Wire’ displays a similar motif, making that retro-soul, horn-inflected sound comeback into the mainstream, just when it had seemed its time had passed. It should come with a warning: this song is likely to cause an outbreak of grinning and kitchen singalongs.
‘Aboard’ has a real maturity to it, Grennan promising not to “fuck around no more”. The band certainly don’t mess about with a tight arrangement that carries enough light and shade drama to make you think he’s a shoe-in for a future Bond theme. The title track is another catchy yet bravely honest homage to his determination to strive for a better life. If it’s not the next single then heads need to roll somewhere – it will win over a million hearts from the first playback. ‘Sober’ is a touch Hollywood with it’s string parts darting everywhere, but still works out lovely as Grennan’s charm is undeniable. ‘Something in the Water’ was his debut release and reflects his initial soul balladry background. He’s outgrown that format now, but this number still contains the magnetism which bought the world to him.
Lighting Matches is not 100% fireproof though, which is no major surprise for an album that runs to a value-for-money 56 minutes. ‘Run In The Rain’ is Adele-saccharine cliche, ‘Lucky Ones’ can’t decide what it wants to achieve as it plods along alchemy-free [like late-period Oasis], and ‘I Might’ is singer-songwriter mundanity that he should have left on the cutting room floor. There’s always a worry that this collaborative creation-through-committee approach, so prevalent in modern music, might stifle the flow, but Grennan holds it all together even during the weaker moments. And even after all the dancefloor anthems the album puts forth he can leave you emotionally floored at the end, via his X-Factor-style offering ‘Sweet Hallelujah’.
It’s sixteen tracks feel like drinking stops on a big night out. They’ll be exultation and laughter, they’ll be a disagreement or two along the way, moments to think about packing it in. Then they’ll be redemption and hugs at the end. New Boots’ message to Tom is simple: nice one son, the next round is on us.
Words Phil Moore, photos David Jackson