But it’s better than “re-fall” and “re-fly”, the uses of which nearly derail in the bridge what has been a satisfactory journey so far. The concept might be old school, but the Rascal Flatts boys are still very much in the present, turning in a nice variation on their trademark harmonies that allow Gary LeVox to let loose a little bit. He’s not as nasal as he’s been in the past, and when he goes for the power vocals toward the end, he sounds a lot more raw than I can ever remember hearing him.
There’s something slightly melancholy about Rascal Flatts these days. A major commercial act that was never known for its artistry has begun to fade. Their relevance is on shaky ground, almost sadly dependent on the whims of radio and consumer interests. I don’t know why their sound slowly went out of style, any more than I can tell you why they were moving four million units an album at their peak.
But against today’s landscape, there’s something comforting about the way that they’re still doing things. They may not be at the top of the game, but at least they’re still playing.
Written by Chris DeStefano, Ashley Gorley, and Eric Paslay