These layers can be good as indicated by the sound of the rest of the album, but on those few tracks that felt like they were going in a more exciting direction, I was supremely let down.įor example, track eight, “Paradise,” feels like a 21 st century take on something from a different era and is different than a lot of the other songs on the album. There are many songs that grab my attention and remind me of powerhouse jams that used to rock the radio, but then they drop me in favor of mellow beats and layers and layers of ambience. Most of this album sounds like indie pop to a fault.
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Although, a lot of Free Spirit’s songs probably wouldn’t make it on to the playlist that you jammed to that summer. A lot of these tracks give remind me of late nights during the final summer before you and all your friends go off to different colleges. This is a long album so there’s a lot of thoughts.įirst, the album name feels very appropriate. It'll probably sound even better after a long-deserved break.I love Khalid’s voice! I had seen his name in my recommended artists for a long time so I’m really glad someone recommended this album to me so I could finally get around to listening to his music. An upside is that Khalid's voice is smoother, richer, and therefore more expressive here than it was on the debut.
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In the song itself, the notion is merely aspirational and wistful, with Khalid vividly recalling, "We were drownin' down our memories/A cemetery full of broken bottles, man, that liquor bleed." Only the kind of thunderous "Heaven," involving Father John Misty and a couple of his associates, sounds too heavy in sentiment, with Khalid aching, "Lord, there's nothing for me left out here." It adds unnecessary weight to an hour-long LP with little joy or even relief, one that is nearly static in energy level despite a carousel of producers - completely different than that of American Teen - featuring Murda Beatz, StarGate, Disclosure, and D'Mile. Consequently, Free Spirit is not illustrative as a title. More than anything else, the album works through emotional struggles of early adulthood - from anguish over faltering relationships and insecurity about expressing grief, to yearning for a simple stolen moment beneath the bleachers. These feelings aren't unique to pop stars, and even though they make up a fair portion of Free Spirit, Khalid and his fellow songwriters never express them in such specific language that an everyday listener can't relate. The downcast "Bad Luck" lashes out at parasitic behavior, and in a number of other songs, Khalid seeks escape from stifling situations, consumed by internal conflict, this close to swearing off all communication via WiFi for at least five minutes. "Hundred" isn't the only song on which he vents. As much as any other artist shot to fame on the brink of adulthood, Khalid could be forgiven for turning in a woeful post-fame album and checking out.
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During the two years that passed between American Teen and Free Spirit, he took part in a decade's worth of collaborations and stylistic crossovers, plus frequent touring amid nonstop promotional duties, all while earning five Grammy nominations and accumulating a stack of platinum certifications. Going by the unrelenting campaign to keep him in the spotlight since he hit with "Location," the statement doesn't seem all that hyperbolic. "Everybody wants a favor, everybody needs me," Khalid exhaustedly grumbles on "Hundred," a dispirited soft pop ballad placed in the middle of Free Spirit.
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