CD reviews: Justin Bieber, Kenny Chesney, Glen Hansard

Justin Bieber
Believe/Island
Justin, buddy, what’s going on?

You’re 18 years old now, a grown man. It seems like just yesterday you were a precocious teenager from Canada who was on the rise in the pop world thanks to some well-publicized YouTube videos. Preteen girls the world over caught a huge dose of Bieber Fever, and you capitalized on that newfound fame, starring on TV’s “CSI,” even crafting your own fragrance.

Now, while I certainly have no interest in knowing exactly what scents make up Bieber Fever, I don’t fault you for cashing in. Fame is fleeting. You can be hot one minute and moved to the bargain bins the next. You need to strike while the iron is hot.

So why then on your new album, “Believe,” do you sound like you’re distancing yourself from your core audience? Song’s such as “All Around the World” and “Boyfriend,” while they are still big pieces of cotton candy pop heaven, also have a new sense of maturity to them. OK, so maybe “mature” is stretching it a bit, but when you sing about “Chillin’ by the fire while we’re eating fondue,” as you do in “Boyfriend,” well, that’s a bit much.

There are some decent moments here, especially when you team up with Drake on “Right Here.” But all in all, you sound like you’re trying to grow up too fast. There’s plenty of time to get old, buddy. Embrace your youth.

And I’d like to speak to whoever decided on the amount of Auto-Tune that was necessary on the new CD. There’s way too much of it.

While I have no doubt you’ll sell millions of albums and singles, you should probably think about going back to your roots. I know that sounds insane, considering you’ve only been recording since 2009, but I’m guessing there was no Auto-Tune on those YouTube clips that first got you noticed.

Think about it, OK?
Key Tracks: “All Around the World,” “Boyfriend,” “Right Here”

Kenny Chesney
Welcome to the Fishbowl/Sony Nashville

Anyone who is a fan of Kenny Chesney knows that the popular country singer would really rather be Jimmy Buffett.

Since that is impossible, Chesney has made do with largely duplicating the career arc of the mayor of Margaritaville, releasing albums that mix elements of country and Caribbean in doses that make cowboy hats and boat drinks seem to go together like peanut butter and jelly.

On his latest effort, “Welcome to the Fishbowl,” Chesney makes a surprising turn, getting serious and, in some cases, depressing as he tackles subjects such as terminal illness and lost love.

Folks expecting to crack a beer and kick back while listening to this new release might want to reconsider.

The songs here are far more thought-provoking and mature than anything Chesney has released in the past, and in my opinion, it’s the best thing he’s ever recorded.

Chesney took a big gamble breaking largely from his “Yee-haw, mon!” formula, but he pulls it off.

“Sing ’Em Good My Friend,” which deals with mortality, is easily the deepest and most touching song Chesney has ever recorded.

The album’s title track, which deals with the loss of privacy in today’s world, is smart and catchy.

Other standout tracks include “Feel Like a Rock Star” and “I’m a Small Town.”

Kudos to Chesney for taking a big chance here.

Key Tracks: “Sing ‘Em Good My Friend,” “Welcome to the Fishbowl,” “I’m a Small Town”

Glen Hansard
Rhythm and Repose/ANTI

Irish artist Glen Hansard is a man of many musical hats. He performed as a street busker as a young man, fronted the band The Frames for more than two decades and starred in Alan Parker’s woefully underrated 1991 movie “The Commitments.”

Though Hansard is probably best known for the 2006 film “Once,” in which he played a street performer who collaborates with a fellow musician, played by Marketa Irglova.

The song “Falling Slowly” from that indie film earned Hansard and Irglova an Academy Award for best original song.

On “Rhythm and Repose,” Hansard’s new solo album, the artist further proves his depth with a collection of intense and emotional songs.

“In time this won’t even matter, this chapter will be long under grass,” sings Hansard on “You Will Become,” a song that tries to downplay the importance of someone after the romance ends.

Hansard bares his heart and soul on this mostly somber and low-key performance.

On one of the album’s more emotional songs, “Bird of Sorrow,” Hansard repeats the phrase “hanging on,” almost as if in an attempt to convince the listener, or perhaps himself, that he won’t give up.

Anyone who has followed Hansard’s career with The Frames and later with his work with Irglova knows that the Irishman is a gifted songwriter. On “Rhythm and Repose,” Hansard shoots for the stars, and in most cases hits his marks.

Key Tracks: “You Will Become,” “Maybe Not Tonight,” “Bird of Sorrow”

By Devin Grant