In the last quarter of 2023, a strong musical voice emerged when Shannon Smith released his debut solo single ‘Dance The Night Away’. The track’s unashamed pop hooks called back to radio fare of the 70s, and the song’s infectiously positive lyric made it a joy for the listener. It was also clear that the performer genuinely felt the infectious vibe he’d shared. This single promised great things on the road ahead, and subsequent tunes drawing from country influences and even a couple of darker lyrical themes, suggested that Shannon was keen to explore different musical avenues and not be tagged as just another adult pop artist.
‘Out of The Shadows’ – a ten song release – is as rich and varied as the previously released singles suggested it might be, and each of the singles has been reprised to form the core of a very narratively focused album. Obviously recognising how great it is, and how much of a musical pull it could offer the first time listener, Smith has chosen to open the record with the fantastic ‘Dance The Night Away’. Latching onto a stabbing piano riff and a jaunty rhythm, it’s a track that immediately strikes retro pop gold. Unashamedly the stuff of an AM radio past, the track shares a familiar melody throughout (it comes quite close to ‘Just One Look’ by Iain Matthews in places, but recycles it with love), whilst the addition of old style organ and chirpy brass lines really bring Smith’s take on a classic pop sound to life. The vocal breezes along with a very welcome happy tone throughout, and that becomes more infectious when interspersed with some subtle brass stings and smooth backing vocals, but if anything sticks in the long term, it’ll be the song’s wordless hook. It’s so simple, it’ll win over a whole world of retro pop fans. With a jazzy interlude that would make Billy Joel raise a smile and a summery vibe that captures the spirit of Mick Terry’s best tunes, Smith really couldn’t hope for a more positive first impression than he offers here.
From here, the album takes a rather sharp turn into ‘Till I’m Home’, a mid tempo track that reworks a different kind of retro sound for the contemporary ear. A semi-bluesy guitar and huge organ sound come together in a way that gives the arrangement a huge heart; a steady rhythm section keeps a rock steady groove, and Shannon adds a light and airy vocal that comes from the same heartfelt place as the previous number. This is so perfectly put together, it would be impossible to guess the era in which it were born. It’s got a trace of Van Morrison – albeit with a far more palatable vocal – and a huge, laid back, almost Americana tinged atmosphere that falls somewhere between The Badloves and a couple of forgotten rootsy bands from the 90s. It’s lovely, and its mellower feel paves the way perfectly for the downbeat ‘I’m Gonna Change’ which presents a clean, friendly voice over a deep, aching melody which is well suited to the track’s lyrical plea. It’s here that Smith’s vocal range and ability to summon deep emotions rises to the fore, and although it isn’t the easiest of listens – particularly if you find yourself rather taken by his unashamed positivity elsewhere – the overall arrangement is lovely. A steady beat reinforces the thoughful mood; occasional piano fills give the melody a timeless heart, and a slightly reverbed guitar lends an even more retro quality. As before, though, it’s Shannon’s gift for a simple chorus that sells the track, despite its dour tones. He takes the title as a hook and applies a soaring tone that fits perfectly with the strings, and despite this being a tale of a man who knows he needs some emotional adjustment, it leaves the audience feeling somewhat sympathetic.
‘Valentine’s Day’ is fairly close in spirit, musically, but far more positive, since it concerns the subject of sharing strong feelings of love. The track’s subject matter involves being in a committed relationship once more, but Smith displays none of the jubilant air of his earlier ‘Dance The Night Away’. Instead, he sings earnestly of sharing his thoughts and feelings, aided by a very slow waltzing melody. The tones are massively soulful throughout, and a superb backing vocal arrangement adds a touch of gospel, lending a timeless feel. With the main tune augmented brilliantly by a crying steel guitar for just a touch of old school country heartbreak, the mellow vibes have a very rich quality, and a now familiar voice sounds very comfortable. Switching the mood back to the upbeat, ‘Feel Good’ takes the brass from the opener and works it against a jaunty rhythm, where Shannon explores an arrangement blending retro pop, soul and funk. The flippant mood shared throughout makes this feel a little more disposable compared to the rest of the elpee, but the band are hugely tight. The way a hard lead guitar works in tandem with a very strong rhythm offers something very 70s, and although this doesn’t feel like “typical Shannon Smith” fare, it’s very well played. There’s a pinch of mid 70s Chicago here, especially through some of the brass fills, and in time, it’ll be the kind of track that plays far more strongly than first impressions suggest. Elsewhere, ‘Started Off With Lies’ cultivates a brilliant 60s power pop sound. Featuring one of the singer songwriter’s most enthused vocals to date and with the aid of a chopping guitar riff and an upbeat rhythm, the song powers forth with a genuine glee, aiming to reel in the listener from the opening notes, and if, at this stage, you’re already a fan of Shannon’s voice, this will offer a genuine treat, since he shares one of his most spirited, most upbeat performances.
Nestled near the end of the album, ‘Every Single Day’ sounds even more like the natural successor to the opening number with its even stronger love of old school pop. From the outset, there’s a great great vibe, as horns and electric piano set up a melody that would’ve suited Paul Carrack in his Ace days, and from there, the tune goes from strength to strength. The verse continues in a manner that clings on to the uplifting mood, making a great feature of Smith’s voice, and a harmony driven chorus shows how the celebratory ‘Dance The Night Away’ was no fluke. Factor in a semi-jazzy sax break, some sturdy sounding bass work and a few fantastic keyboard fills, and this recreates more genuinely great 70s influenced sounds. Almost working like a coda, ‘Light On A Hill’ closes the record with a piano and string led affair that sounds like a more sedate ‘I’m Gonna Change’. The lyrical message of love, support and closeness and loving someone so much that, if need be, you’d “steal the sickness away” is really striking, and the stripped down music throws a spotlight effortlessly upon the hugely emotive tone. This doesn’t necessarily give the album the big, upbeat finish it possibly deserved, but it wouldn’t work if sequenced elsewhere. It is a slow burning melody for certain, but over time, it’s actually the kind of recording that could stand alongside a couple of Smith’s previous singles in terms of emotional pull.
‘Out of The Shadows’ felt as if it were a long time coming. After all, a lot of musical ground has been covered between the release of ‘Dance The Night Away’ and the album finally reaching the record buying public. People have discovered a lot of new artists and sounds over the course of almost two years, and in a world of pushbutton sounds, it’s even possible that some people might have even reached burnout after being bombarded with so much potential new music. It’s more than worth remembering Shannon among the digital onslaught. This album mightn’t always feel as infectious as his debut single on the whole, but every track has been crafted with love, and playing like an emotional cycle set to music, it’s a record that provides far more than a quick musical fix. For a self-reliant artist, the production values are great, and as debuts go, ‘Out of The Shadows’ feels like an old fashioned album in the best possible way: it feels like a complete work rather than a collection of tracks, and some of its deeper cuts are likely to make an impression over a longer period of time. If you’re the kind of music fan who likes to invest time in albums the way people did in a pre-streaming, or even pre-internet age, then this will certainly offer a massive amount of listening pleasure.
April 2025
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I’ll definitely check it out.