Alabama Shakes have returned with a vibrant new offering, marking a significant evolution for the band since their debut EP fifteen years ago. What began as a small-town group aligned with the lo-fi, vintage aesthetic favored by early-2000s hipster culture has transformed remarkably under the guidance of lead singer Brittany Howard. Known for her captivating stage presence, Howard has dedicated much of the last decade to pushing against the retro labels often affixed to her and the band, particularly following the release of their groundbreaking second album, Sound + Color, in 2015. With her solo projects, she has emerged as a chameleon-like artist, exploring an eclectic range of sounds akin to the likes of Prince—bold, constantly evolving, and defying conventional genre constraints.
Reintroduction of Alabama Shakes
In their long-awaited return with I Must Be Dreaming, Alabama Shakes aims to redefine themselves while honoring the roots that initially drew listeners in with classics like “Hold On.” This new record, their first in over a decade, reflects a significant artistic chapter for Howard and the band. The album resonates with themes of adulthood—expressing sentiments ranging from wistful regret to hard-won hope, addressing the country’s fraught state, and even touching on the simplicity of nurturing a garden. Some tracks, like “Garden,” evoke pre-World War II sensibilities, while others, such as “Tea Time,” project into the Afrofuturistic realms that Howard has delved into as a solo artist.
Creative Chemistry Reignited
Reunited as a trio, Howard along with bassist Zack Cockrell and guitarist Heath Fogg sound revitalized. One standout track, “Another Life,” is marked by a chamber-soul grandeur featuring Howard’s vocal acrobatics, subtle bass lines, congas, and a distinctive one-note solo that surprised and delighted. This song represents both a departure from their past works and a sound distinctively anticipated, had the band continued recording immediately after Sound + Color.
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Exploring New Soundscapes
After forging an impressive solo career, it’s striking how comfortably Howard embraces new sounds alongside her longtime collaborators. The electric piano played by keyboardist Ben Tanner sets a warm tone for “Waist Deep,” where Howard questions if the struggles of the past are behind her. In “American Dream,” Cockrell and Fogg weave a bass-guitar dialogue that effectively conveys feelings of alienation and unrest, with Cockrell’s melodic bass lines standing out. The centerpiece, “I Feel Hope Coming,” fluidly navigates genre boundaries—from Curtis Mayfield soul and mid-century standards to ’60s psychedelia—creating a smooth listening experience.
Introspective Themes
Howard’s reinvigorated sense of self showcases that Alabama Shakes excel in conveying the rock-soul-funk-pop sound she envisions. In the album’s closing track, “Tied To You,” Howard reflects on romantic pasts and enduring connections. “There’s no going back/Whatever that was,” she sings, a poignant line illustrating not only a past relationship but possibly also her dedication to the band—signifying, “I’m tied to your horse.”
