Paul Weller didn't play many dates in support of his 2018 album True Meanings. Not counting his summer festival appearances, which were all delivered prior to the album's September release, he gave just five concerts: two in the Netherlands, one in Belgium, and a two-night stand at London's Royal Festival Hall in October, where he played with the support of a full orchestra. Those two dates are the basis of Other Aspects: Live at the Royal Albert Hall, a double-CD accompanied by a DVD. Weller deliberately avoided familiar material for these concerts. All of True Meanings save three songs is performed (the mid-album sequence of "Bowie," "Wishing Well," and "Come Along" is absent) and he eschews crowd-pleasers from both his solo career and the Jam in favor of moody, lush reworkings of "Tales from the Riverbank" and "Private Hell."
Like Stanley Road before it, Heavy Soul is more about vibe than songs. There are a few sharply written tracks here and there, but what's important is the rootsy, stripped-down atmosphere. Paul Weller's soul and R&B influences reign supreme on Heavy Soul, yet they are filtered through late-'60s psychedelia, blues-rock and prog folk, as he takes songs into extended instrumental jams. The band sounds tight, but Weller has suffered a bit of a songwriting slump, which is evidenced by the handful of keepers that form the core of the album. "Up in Suze's Room" is a hazy, folky gem, the soulful apology "I Should Have Been There to Inspire You" is affecting, and "Peacock Suit" is a fine "Changing Man" rewrite, but too much of Heavy Soul is concerned with texture instead of content. That doesn't make it a difficult listen – in fact, it's quite entertaining while it's playing – but there isn't much to explore on repeated plays.
Weller releases the audio from his live performance with the BBC Symphony Orchestra conducted by Jules Buckley with special guests, Celeste, Boy George and James Morrison. An Orchestrated Songbook spans Paul’s career and includes ‘You Do Something to Me’, ‘English Rose’ and ‘Wild Wood’ alongside tracks from his latest two number 1 albums On Sunset and Fat Pop.
Take the title of Sonik Kicks as literally as that of its predecessor, the galvanizing 2010 Wake Up the Nation. Sonik Kicks delivers upon its titular promise immediately, coming to life with the stuttering electronic pulse of "Green," which immediately sweeps into a brightly colored psychedelic chorus, one of many dense collages and sudden shifts Paul Weller offers on his 11th solo album. Some of this contains echoes of the sprawling, picturesque double-album 22 Dreams, the 2008 record that began his latter-day renaissance, but Weller is determined not to repeat himself on Sonik Kicks.
On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s.
Paul Weller makes music for a world in deep fracture. For several albums in a row, the English singer-songwriter has seemed jittery and anxious, but A Kind Revolution puts its finger on the pulse better than any of its predecessors. Part of that's simple timing: Released amid global political uncertainty, A Kind Revolution isn't explicitly topical, but its mood—one of fighting hard for hope, even in perilous days—captures the spirit of the age. It helps that this is also Weller's finest effort since 2008's sprawling 22 Dreams. Unlike some of the albums he's released in the interim, like Wake Up the Nation and Sonik Kicks, A Kind Revolution never feels fragmentary, even though it's certainly wide-ranging and eclectic. The difference is that Weller really gives his best ideas time to develop here, and his usual frenzied pacing is relaxed a bit, letting the songs fully unfold.