For any other artist, “Don’t Let Me Be Lonely” would be just as forgettable as it is for the Band Perry. But given the unhinged creativity they usually show, it’s befuddlingly conventional.
Part of the trouble is the material itself. There’s a really great lyric early on that should serve as the foundation of the song’s message: “When you’re young you can fly, but we trip on clouds ’cause we get too high. We grow up and then it’s gone. God only knows what we become.” The rest of the song should be about the a-ha! moment that informs that lyric, and there are moments that get there.
But the song is weighed down by a chorus and hook that suggests that our narrator is looking more for the company of a one night stand, not someone to help figure out the meaning of life and time and all of that. It’s kinda like someone dropped “Need You Now” down in the middle of “Someone Somewhere Tonight.”
To make it work, the singer would really have to sell it. Kimberly Perry doesn’t sell it, and the odd contours that usually make her sound so distinct and interesting are nowhere to be found. The bland production doesn’t help matters, either.
The Band Perry’s weirder experiments don’t always work, but they’re always interesting. “Don’t Let Me Be Lonely” doesn’t work, but it’s not even interesting.
Written by Sarah Buxton, Rodney Clawson, and Chris Tompkins
What happened to that nice pseudo-bluegrass sound that they had on the first album? Why did they switch their sonic disposition to a loud, grinding pop-rock sound? Lyrically, I enjoy this song enough that’d I probably download it off then album.
As Kevin pointed out though, it takes a turn halfway through the song, going to a predictable and loud rock sound. Loud guitars and an unnecessary driving drum beat squashes the enjoyment for me. If I wanted to listen to a pop-rock song I would. Mr. Huff, why have you taken away their breezy bluegrass sound?
Guys, go back to Nathan Chapman and Paul Worley as your producers because what your getting here with Dan Huff takes away the uniqueness of your trio.
…another no. 1 for them. not quite as perfect as lady a’s “need you now”, but of course pure ear candy of a smiliar sort.
the fact that they go down music row in a unashamed pop stride with this release – as all the acts that are geared to a younger country audience do at the moment – should not be held against them. it is simply the flavour of this “cruise” season.
in fact, talent that ranges from the deep valleys where the most traditional country sound comes from to the lofty heights of teeny pop should be applauded. one of the best managed bands and careers in nashville these days. almost flawless, actually, in all aspects.
This is my favorite single yet off their ‘Pioneer’ album. It does not sound too loud like “Done” and not too dark and threatening like “Better Dig Two.” I especially enjoy the second verse when they put in the drums but I agree that they went too much by the end of the song.
I also a bit baffled by the sudden change in image and sound of The Band Perry. Kimberley and her brothers are now sporting tight leather pants and leopard prints, and with their crazy big hairs, plus heavily choreographed performances (like the one during the ACMs); they now seem like a faux hair band from the 80s. I liked them more when they were creating this vintage and gypsy vibe, as with their “All Your Life” video. Even the band’s sound grew more progressive and more pop-rock with the ‘Pioneer’ era. Their debut album was way much better. It has touches of pop and bluegrass, but it is unmistakeably country.
I became a fan of The Band Perry at the time that Lady Antebellum became full throttle adult contemporary with their ‘Own the Night’ era. I found The Band Perry’s sound as refreshing, and felt like this is how you do contemporary country. But this album era is a bit of a letdown for me.
I agree with Kevin; this definitely isn’t as interesting as some of their other releases. I really enjoyed their past two singles, and this feels a little bland in comparison.
Also Tom, I’m pretty sure the popularity of a “pop stride” in country music long preceded “Cruise”.
I have to agree with Kevin’s review. I can listen to “Don’t Let Me Be Lonely” but I don’t hear it and want to play it again. Other than “Better Dig Two”, I’ve hardly listened to this album since i bought it in April. The 4 extra songs on the Target version I didn’t care for at all.
My most frequently played track by far on the BP debut cd is “Double Heart”, followed by 3 other album tracks. Good album.
I love it.
One of my faves of the year for sure.
It’s funny, I get where the review is coming from, but disagree almost entirely.
I found the lyric “When you’re young, you can fly, but we trip on clouds ’cause we get too high” to sound somewhat forced, and as a metaphor one that doesn’t quite sit right. Conversely, I feel that the hook of “Take the keys to my heart and the keys to my car and just drive” is superb, capturing the desperation and disillusionment of the narrator, while the song’s building production only adds to this feeling of anger mixed with hopelessness.
If you look at the song as somebody searching for a life partner, then I agree with the review, however equally I feel that if you look at it as a 20-something girl who feels lost in and perplexed by the world around her, and just wants some company for a short while, it does the job very effectively.
I do agree, however, that Kimberly Perry sounds a bit disinterested here, which is indeed very peculiar given how she is usually one of the more entertaining singers in country music at the moment.
…completely agree, kent. in the sixties and seventies right into the eigthies it did not only feel like country and pop were strolling down music row arm in arm – it more often than not sounded like they were making out at every crossing or better – metaphorically speaking.
as a matter of fact, the guys from florida georgia line sound really country, catchy… a little repetitious, perhaps. then again, one should not be too picky with the latest saviours of the great country music clip tradidion sporting a/some “chick(s) in a bikini” in their productions.
i often wonder, why no-one ever mentions that when going on about paying dues to the genre’s roots.