Ever-eclectic Australian country superstar Keith Urban continues to blur country music lines on his latest album, ‘Graffiti U.’

Toss out the traditional country rule book! Aussie ‘country’ musician Keith Urban has disregarded throughout his career, particularly as of late. Being less country than most and more progressive-minded than many country musicians his age has its share of pros and cons. Ultimately, his somewhat quietly released Graffiti U is an enjoyable album. If you’re a country music fan, go into it with an open mind and you’ll see its magic.  It’s not ‘the second coming’ or anything like that, but certainly worthwhile.

“Coming Home” 

On “Coming Home”, Keith Urban taps singer/songwriter Julia Michaels for the assist. Further making the record interesting is producer J.R. Rotem, who is noted for his pop and urban productions.  Vocally, Urban retains his country sensibilities.  While the modern pop cues are served up in a heavy dosage throughout “Coming Home” (synths, 808s, and drum programming) a familiar sound, engrained in country music will ease the nerves of some skeptics – the guitar!  A catchy chorus serves as a huge selling point.  “Never Comin Down” keeps things groovy, hip, and modern.  More pop-driven on the first verse, the banjo enters in on the anthemic chorus, solidifying its country status.  Expressive ballad “Same Heart” follows, slackening the pace.  Vocally, once more, Urban shines.

“Drop Top”

“My Wave” invites an unlikely collaborator, Shy Carter.  Expectedly, the sound is NOT straightforward, incorporating the sounds of the island.  Given Urban’s versatility, he successfully pulls it off.  Follow-up “Parallel Line” balances things out, returning back to a more countrified sound. Still, the more straightforward ballad isn’t chocked full of twang either.  Urban collaborates with Kassi Ashton on the groovy dance, electro-pop and country fusion, “Drop Top.”This is a pleasant, unique record, with Top 40 potential.

“Gemini”

Urban leans a bit more into his country side on “Way Too Long,” but not without the aid of pop.  In the context of Graffiti U, its well sung, but one of the more forgettable cuts.  Lindsay Ell assists on the even more traditional “Horses” which is good (particularly the Urban falsetto), but not revolutionary or transcendent.  “Gemini,”a more forward-thinking dance cut, stands out more, despite being further removed from the country idiom.  The vocals are relatively easy-going yet commanding, the chorus incredibly catchy, even if it lacks meaningful, poetic lyrics, and the dance groove cooks.

“Texas Time”

The set’s second lengthiest number, “Texas Time” gives Urban another stellar moment.  This one embraces country music more, yet again has appeal beyond the base.  Perhaps it’s the throwback, vintage pop/rock vibes, not to mention the throwback to the country of old.  Still, “Texas Time” incorporates vocoder, which is definitely not part of the country script in any decade. The slick “Love the Way It Hurts (So Good)” has two tough acts to follow. It doesn’t supplant “Gemini” or “Texas Time,” but serves as a continuation of the progressive country script.

“Female”

“Female” is among the crème de la crème of Graffiti U thanks to a pitch-perfect, timely social message.  “Female” possesses light country production that’s anchored by a pop beat.  Keith Urban delivers solid, emotional vocals, which capture the femininesensibilities of the lyrics.  Asking a number of questions on the verses, the questions are related to the female experience, particularly being treated with the respect that women should. The chorus sums up the theme perfectly:

“Sister, shoulder

Daughter, lover

Healer, broken halo

Mother nature

Fire, suit of armor

Soul survivor, Holy water

Secret keeper, fortune teller

Virgin Mary, scarlet letter

Technicolor river wild

Baby girl, woman, child

Female.”

The groovy, smooth, ultra-modern “Steal My Thunder” concludes.  It’s good but doesn’t rank among the crème de la crème.

Final Thoughts 

All in all, as aforementioned, Graffiti U is an enjoyable album. Keith Urban doesn’t reinvent the wheel, but he keeps ‘country’ fresh and progressive, at least contextually.  Is this a memorable affair for Urban? Eh. Keith has his moments.

Gems: “Coming Home,” “Drop Top,” “Gemini,” “Texas Time” & “Female”

Keith Urban • Graffiti U• Capitol Nashville • Release: 4.27.18

Photo Credit: Capitol Nashville