Not the best score, but then we haven’t heard the Kris Allen version yet…
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[4.71]
Alfred Soto: As usual with this well-meaning avatar of social media queerness, his commitment to projecting to every seat in the Rose Bowl reminds me of the chromosomal similarities between self-dramatizing queerdom and the ambitions of your average metal rocker. As usual his material doesn’t go far enough: not metal enough, not queer enough.
[4]
Isabel Cole: Lambert’s attempts at grittiness have never quite lost the vibe of an enthusiastic liberal arts major attacking “Out Tonight” — even here his performance feels like it carefully lacks enunciation — but he comes closer here than he usually has, assisted by production which grooves not particularly memorably but wisely without overselling itself. Still, my favorite part comes as the chorus crests and we get to hear, briefly, the almost supernatural prettiness of his uncluttered voice.
[5]
Edward Okulicz: Not opposed to Lambert bearing his sexuality in an overt, almost aggressive way, and in fact welcoming the idea of him rubbing his crotch all over my headphones, I’m nonetheless disappointed with what a low-impact growl the chorus is. Lambert’s greatest skill is for rollercoaster emotional drama, as if soundtracking slash fiction of his own life, and this one just doesn’t overwhelm me with hysterics, pulpy romance or dirt. If this were a movie, all the good bits would be pixellated or cut for a child-friendly showtime.
[5]
Will Adams: The same ersatz grit as Niall’s “Slow Hands,” with the added benefit of 100% fewer references to dirty laundry. But Lambert is as polite as ever vocally, and the proposed impact turns out to be a blank.
[4]
Scott Mildenhall: If someone had to take up all the BØRNS songs that will no longer be released, it might as well be Adam Lambert. “New Eyes” fits him like a glove, reiterating his huge versatility as a performer, but is perhaps too slight to be as satisfying as it could be.
[6]
Alex Clifton: It’s funky and smooth, two words I never expected to associate with Adam Lambert. I think it works? I do miss the brashness of “Whataya Want From Me,” a song that crashed down to earth from pop heaven. In the end it gets more thumpy than sexy, but it’s not a bad pivot at all. I just wish it had a little more oomph.
[5]
Taylor Alatorre: On paper, I like the idea of tricking boomers into thinking that Adam Lambert song on the radio is something they heard while playing foosball at the student union back in 1974. In practice, I wish he would focus less on getting extra credit for historical fidelity and just let his vocal range do its job.
[4]