The Answer's 'Sundowners' - Album Review

It is always a shame when loved bands appear to fade away. Until late last year, this is what appeared to have happened to the Northern Irish rockers The Answer in around 2017. Up until 2017, the band had been pretty busy since they burst onto the scene in 2006 with their debut album Rise. Rise was one of those albums that really caught hold, and the band made a big impression from the off. Sadly, though, like many hard rock acts from the 2000s, The Answer never found the fame which their output deserved. The band's fortunes should have changed in 2008 when, following the release of second album Everyday Demons, they found themselves opening for AC/DC throughout the year and into 2009. This really should have kicked the band's career up a notch, but, sadly, it did not seem to. Once the AC/DC tour was over, they was back to playing small club shows again - something which essentially continued until 2017 when, following the conclusion of the touring cycle supporting 2016's Solas (which I reviewed here), The Answer seemed to quietly fade away. Now that the band have returned, it probably not wrong to assume that the break was needed. The Answer had essentially been on the go since forming in 2000 - and released six albums between 2006 and 2016. They always seemed to be on the road, too, so I wonder if by 2017 they were somewhat burnt out. It cannot be easy toiling and seeing little reward for it, either, with the band returning to the same clubs year after year despite most of their albums being well received. Funnily enough, the one album that received somewhat more mixed reviews in general was Solas. The earthy, atmospheric, and more acoustic-based sound that characterised Solas was generally a far cry from the band's typical hard rocking blues. Having listened back to the album recently, it feels like one by a band desperate to try something new and get themselves out of a rut. I do quite like Solas, even if some of the songs do not do all that much for me - but it is comfortably my least favourite album by The Answer, largely as it lacked the swagger of the band's best work. There was very little news from the band between 2017 and last year, then, and I really did wonder if they were indeed no more. Frontman Cormac Neeson released a solo album to acclaim, which I still have not heard to my shame, whilst nothing much at all was heard from the others. This all changed last year, though, when the band announced that they were back - and would release a new album and tour in 2023. I listened to the lead single last year, but decided largely just to sit back and wait for the album to drop - so when it landed last month I was pretty excited. I saw the band live for the first time since 2015 the same weekend that it came out, too, so that weekend was very much dominated by The Answer. Perhaps unsurprisingly, Sundowners, the band's first album since Solas, returns to something more akin to their classic sound. That is not to say that the innovations made on Solas have been thrown out completely, as some of that album's rawness and earthiness remains, but Sundowners on the whole is The Answer that the fans know and love.

Despite this, though, the album on the whole is somewhat less brash - with a stronger blues edge and plenty of groove. There are a lot of memorable tracks here, but perhaps the opening title track is among the most interesting. Sundowners itself is a song which feels like The Answer, but with all of the studio polish stripped away. The fuzzy opening, which features harmonica and distorted studio chatter, sets the tone nicely - whilst guitarist Paul Mahon adds swells on a resonator. Drummer James Heatley soon starts to lay down a percussive beat, which bassist Micky Waters adds a walking groove over the top of. This rhythmic pulse generally drives the song, with Mahon adding slide accents and session keyboard player Jonny Henderson very occasionally adding some organ. Soon discarding his harmonica, Neeson starts to croon atop the groove - his vocal patterns very old-school blues. When I say old-school, I really mean it - as there are strong 1930s/1940s vibes here. The raw sound, the reliance on slide throughout (even during the riffier chorus), and the percussive groove all have that foot-stomping sound of the American south - and Neeson's raw howls and occasional harmonica bursts perfectly add to the song's atmosphere. Those expecting the album to open with a bang may be disappointed, but for me Sundowners captures the essence of The Answer perfectly. They have always been a blues band at heart - and this song sees them expressing this in its purest form. Mahon's tone throughout is perfect for the song, and the use of a resonator only enhances it. There are more rocking moments to come, but as far as a scene-setter goes the title track does its job perfectly. Lead single Blood Brother follows and this sees The Answer operating in a more typical manner. The overall rawness is retained, but Mahon's spiky guitar riff is typical of the band's older sound - with the punchy groove of the rhythm section perfectly accented by some occasional organ swells. Neeson sounds more like his usual self here, crooning in his raspy delivery perfectly, whilst the rest of the band add some subtle harmonies during a swelling pre-chorus which, briefly, allows the song to sound 'bigger'. The punchy grooves return for the chorus, though, which could well be the album's hookiest moment. It is easy to latch onto, and the song is likely to be a live staple going forward as a result. Mahon's tortured solo is a lot of fun, too, and those who favour a more direct approach will love Blood Brother's attitude. California Rust goes for a fuller sound, and is one of the songs here that could have fitted easily on one of the band's early albums. There is less rawness here, with a bigger production seeing every nook and cranny filled with organ - whilst Mahon's busy riffing drives everything. Neeson's vocal approach is more overtly-melodic here, with his verse delivery feeling more sing-song - before the whole band harmonise for the soaring, hooky chorus. There are hints of Americana here, but generally the piece is very typical of The Answer's core sound - and those who loved Rise and Everyday Demons in particular will enjoy the scope of the song, as well as Mahon's more traditional solo. This solo gives way to a more jam-led instrumental section, complete with lots of harmonica, before everything is pulled together again for a final reprise of the stage-ready chorus.

Want You to Love Me injects a bit more rawness back into the album, but the hooks of the previous song remain. The song is very strident as a result, and it treads a fine line between anthemic hard rock and dirty blues. Mahon's guitar tone is very gritty, with Waters' bass also on the rough side to help drive the song and ensure that everything sounds dirty. The organ helps on that front, too, but it is the core band that drive everything - whilst Neeson adds plenty of his trademark throat-shredding vocals atop the pulsing cacophony. Despite this commitment to a rougher sound, there are still lots of hooks here. The chorus has a snappiness about it that makes it stick in the brain - whilst a short-lived gospel-inspired section in the song's middle allows for the backing vocals to make a strong impression. Toning the rawness down somewhat, Oh Cherry then introduces some 1950s/1960s rock 'n' roll vibes to the album. It is a very retro-sounding piece which mixes the band's typical sound, especially during a rollocking chorus, and old-school pop vibes during the simple verses. Mahon's guitar motifs are very Buddy Holly-inspired here, but the song overall is tougher - largely thanks to Heatley's swinging grooves, and Neeson's impassioned vocal display. This is one of the songs on the album that really stood out to me from the off - and this mix of sounds is likely why. It sounds very typical of the band's best work, but the retro edge is a bit different from the norm - without sounding contrived. The hybrid approach works, and the faster track is one of the album's best. No Salvation is a slower song, which opens with the mournful strains of Neeson's harmonica. For a few seconds it is all that is heard, and it sets the tone nicely, before Mahon joins in with a bluesy figure which forms the basis of the rest of the song. This is the perfect song to highlight's Neeson's crooning vocal style, and he is very much the focus throughout. Mahon's slow riffing is the main musical hook, but Neeson sells the piece - with his harmonica adding colour occasionally. Waters and Heatley are more restrained here. The rhythm section is generally busy on this album, but here they simply provide a gentle backing for the guitar turnarounds and Neeson's emotional vocal delivery. No bluesy ballad is complete without a guitar solo, and Mahon's simple offering really pulls everything together - before another gospel-influenced closing section ups the pace a little. Cold Heart returns to a harder-hitting sound, but in truth the song is really just classic The Answer in style and structure. Heatley's cowbell-heavy drumming creates the groove, whilst Mahon lays a mixture of typical riffing and slide over the top of the swinging beat. Wordless vocal hooks stick to that gospel vibe which has already been referenced a couple of times - whilst a joyous chorus reminds me of the vibe of Preachin', but with a poppier edge. Neeson really sounds at his best here, and the song is a great representation of his talents. His strutting, yet melodic, performance is great - as is Mahon's solo which is more traditional and filled with bluesy phrases.

All Together is similar, and the joyful vibes of the previous song have been retained here. Some of the stomping vibes of Blood Brother have been repurposed, too, and the song is another that is led by Heatley's drums. His grooves throughout this album are crucial - and he leads the verses with his infectious beats. The guitars and bass accent him nicely during the verses, whilst the keyboards actually add some more prominent musical hooks here. The keyboards add a lot to the album overall, but this song sees them pushed to the fore during the verses - whilst the chorus is more traditionally rocking with spiky riffing and plenty of soulful backing vocals. Keeping the pace up next is Livin' on the Line, which loses some of the rawness of the previous songs for a poppier, more anthemic sound - which recalls some of the vibes the band previously explored on 2011's Revival. There is a stronger emphasis on backing vocals and harmonies here, with the verses sung in a call-and-response manner between Neeson and the rest of the band. Mahon's riffing is more all-encompassing and classic rock-inspired here, whilst the grooves of the rest of the album have generally been replaced by a more driving hard rock beat - which suits the more anthemic sound attempted. The chorus showcases this best, and it is another of the album's hookiest moments. Neeson's melodies are very much stadium-ready, and the tight vocal harmonies certainly feel like something out the 1980s. The band do not borrow from the 1980s too often, but it works well here - and the hooks are infectious. Mahon's guitar solo is lengthy and very classic rock-inspired, too, leading to one of the album's most memorable tracks overall. Get Back on It immediately returns to a rawer sound, with the 1980s vibes of the previous song no longer present. In fact, the song feels very similar overall to All Together - with a strong drum groove and some prominent organ playing. For me, though, perhaps the similarities are too great - and the fact that it follows so soon after All Together makes Get Back on It somewhat roll into one with it. The song does not hit as hard as it could do as a result, but there is still plenty of enjoy in its strutting groove and subtle use of gang vocals. The album then comes to a close with its slowest number, the more acoustic based Always Alright. Despite the old-school opening cut and No Salvation, the album has generally been pretty up-tempo and hard rocking - so the delicate nature of Always Alright is welcome. An acoustic guitar pattern forms the basis of the piece, with subtle slide accents adding colour, whilst Heatley's simple drum beat and some occasional piano notes flesh it out. Neeson is much more restrained vocally here, leaving his typical howl behind for a more emotional approach. His singing throughout the song is very heartfelt, although towards the end he starts to exhibit something more typical. This is because the closing section of the song does rock out a little more, driven by an electric piano boogie - with more soulful backing vocals enhancing a more jangly, upbeat version of what had come before, bringing the album to a sunny close. All in all, then, Sundowners is a great come back from The Answer. Whilst it may generally stick closely to the band's core sound, there's a freshness to the overall production - and the atmosphere throughout is infectious. The band are back with a bang, and I hope that it is just the start of a new era.

The album was released on 17th March 2023 via Golden Robot Records. Below is the band's promotional video for Blood Brother.