Adam Lambert, Velvet | Album Review

Nearly five years after unleashing The Original High, Adam Lambert returns with an electrifying, fourth studio album, Velvet. 

Adam Lambert has moved on from American Idol – like years and years ago. But, have I moved on? I don’t think so.  Still, after all these years, I ask myself, how did he NOT win the eighth season of the show? Regardless, that’s “Water Under the Bridge”, and Lambert has achieved his fair share of success, including his gold-certified debut album (For Your Entertainment), a gold-certified single (“Ghost Town”), and becoming the first openly gay male artist to top the charts (Trespassing, 2012).  Now, nearly five years after unleashing the great, but underrated The Original High (2015), Lambert blesses us with an electrifying, ‘funked-out,’ gem-of-a fourth studio album, Velvet.  Go on and slay Adam!

“Velvet”

✓ “Velvet” sets the tone of Velvet.  As always, Adam Lambert showcases his prodigious vocal skills, delivering an overall balanced performance.  He is cool, calm, and collected on the verses, digging in more on the rousing chorus.  “Velvet,” like much of the album as a whole, is characterized by its funkiness.  That means that Lambert incorporates 70s and 80s musical cues alongside the sleek production techniques of the 2020s. Ultimately, a fine opener.

“Don’t give a fuck, ‘cause I’m gonna take back / my superpower.” Sigh, as electrifying as “Velvet” is, Lambert has even more attitude on the unapologetic ✓ “Superpower.” While “Superpower” remains funky AF, it also has more rock-n-roll sensibility to complement the funk. Groove continues to be Lambert’s best friend, as do a couple of colorful words (“I know I’m not the only one / Who thinks this shit ain’t okay”).  Vocally, Lambert takes more risks compared to the opener, reminding us of why he’s such a gifted musician.

“Stranger You Are” 

Following up “Velvet” and “Superpower” is a gargantuan task – both help to shape Velvet early on.  No worries though, as Adam Lambert remains locked-in on “Stranger You Are,” continuing to exhibit mad personality, high-flying vocals, and some truly decadent ear candy.  “Stranger You Are” continues to hearken back to the past for its inspiration, which means we expand the instrumentation, bringing horns into the fold.  There’s no drop-off in quality on “Loverboy,” which has disco written all over it.  Here, Lambert wants to be the sole lover – not merely a “another number,” per the infectious chorus:

“I don’t wanna be another number
Wanna feel like your loverboy, oh yeah
I don’t wanna be another number
Wanna feel like your lover boy, oh yeah
You wanna get touchy-feely
Better not be so greedy
Show me that I’m the only one
I don’t wanna be another number
Wanna feel like your loverboy, oh yeah.”

Once again, Adam Lambert collaborates with musical royalty – Nile Rodgers of Chic notoriety.  The resulting ✓ “Roses” is among the grooviest, most LIT records appearing on Velvet.  I love the restraint that Lambert shows on the verses and pre-chorus, bringing more punch on yet another spot-on chorus.  The situation for Mr. Lambert? Why roses without emotions.  Basically, Lambert wants more of an emotional connection, so much so that on the second verse he asks, “Is it love or are we just fuckin’? / Tell me, baby, you can’t keep me waiting.”

“Closer to You”

After five quicker cuts, Adam Lambert slows things down with a ballad, ✓ “Closer to You.”  As always, he absolutely ‘kills it’ – in the best, most positive way possible that is! Like many of his performances on Velvet, he begins with incredible control, gradually ascending to that next dimension – that next level.  Again, the focus is love, where Adam is willing to do any and everything – “Whatever gets me closer to you.” He increases the tempo once more on “Overglow,” another neo disco number with a robust bass line that’s certainly a catalyst for hitting the dance floor.  In addition, the guitars are rhythmic and quite potent, most notably on the chorus where “Overglow” reaches its peak.  Perhaps it’s not as elite as the likes of “Velvet” or “Superpower,” but it’s as consistent as everything else on the album.

Two surefire gems follow, both of which trump “Overglow.” The relatively brief ✓ “Comin in Hot” oozes with funk, period.  Yes, Velvet is funky throughout but “Comin in Hot” manages to further distinguish itself from everything else. Maybe it’s the backdrop The Monarch has so masterfully assembled as the producer.  Perhaps it’s the sultry vocals by Lambert, which are sexy to the nth degree without being explicit.  Likely, it’s a combination of all those things, with the addition of another flaming hot chorus.

The second consecutive bop is actually a complete about face.  Elements of R&B are prevalent throughout Velvet but ✓ “On the Moon” may be the closest to fully embracing the label.  This urban-pop number exemplifies ‘2020’ through and through – sleek and modern to the core.  What makes it so fresh? The keyboards, synths, and the busy, hip-hop drums.   Vocally, through much of “On the Moon,” Lambert is among the most restrained he’s been throughout the entirety of the album.  He rises to the occasion on the final minute, adding ad-libs but not overreaching in the least.

“Love Don’t”

Once again, Adam Lambert has the difficult task of following up some super bops.  “Love Don’t” doesn’t eclipse “Comin in Hot” or “On the Moon” in my personal opinion, but it keeps Velvet highly entertaining, and most of all, incredibly consistent.  The boxes continue to be checked off, with some f-bombs adding some additional color, as if Lambert weren’t engaging enough. From the jump, “Ready to Run” engages, thanks to another totally infectious groove.  It doesn’t hurt when Adam kicks off the first verse with a lyrical bullet: “Boots on the ground / Had enough of this clown…” 

Penultimate record “New Eyes” is moderately slow in pace, but that doesn’t inhibit the groove. Like everything else, musically it’s pretty impressive, with the souped-up guitars and a prominent bass line leading the charge.  Vocally, Adam is, well, true to self.

He closes Velvet with the rare ballad, “Feel Something.” This is the appropriate placement, as he’s in reflective mode, pining to “feel something.” While he asserts that ‘something’ doesn’t have to be love, that seems like where he naturally wants to arrive at.  Still, “If it’s never enough, at least it’s better than nothing.”

Final Thoughts 

All in all, Adam Lambert delivers the goods on his fourth studio album.  Velvet is well-rounded from start to finish, with its retro sensibilities boding quite well in the singer’s favor.  Even as Lambert seeks to showcases the brilliance of the music of past decades and movements, Velvet never feels anachronistic.  If anything, it’s refreshing, and definitely reminds us why we loved him in the first place.

✓ Gems: “Velvet,” “Superpower,” “Roses,” “Closer to You,” “Comin in Hot” & “On the Moon”

Adam Lambert • Velvet • More is More / EMPIRE • Release: 3.20.20

Photo Credits: More is More / EMPIRE