Blackberry Smoke's 'Be Right Here' - Album Review

Despite being a big fan of the Atlanta-based southern/country rock five-piece Blackberry Smoke, I think it is fair to say that I have something of a mixed relationship with their catalogue. I first got into the band in 2014, not too long after their third album, 2012's The Whippoorwill, was officially released here in the UK. Southern rock tends to do pretty well in the UK, so it is perhaps surprising that it took the band until their third album to see an official release here - but ever since The Whippoorwill was available in stores here Blackberry Smoke have been popular. Their live shows here are always well attended and each album release also tends to do pretty well, too. I have seen the band live three times, with a trip to another concert of theirs planned for September, and each time has arguably been better than the last. Live, the band really rock. Their true southern rock pedigree comes alive on stage, and they power through lengthy and varied setlists night after night - treating the fans to favourites, new songs, and deep cuts alike. You are never quite sure which songs you are going to hear, but this does not really matter as every song excels on stage - with even the mellower, more country-based songs benefitting from the band's live heft. I say this as, fairly often, this is not the case with the band's studio albums. Like so many great bands, Blackberry Smoke never seem to be able to capture their live fire and energy when recording in the studio - something which I feel is quite evident on the band's newly-released eighth studio album Be Right Here. I had quite high hopes for it following hearing one of the early singles released in advance of the album dropping last week, and particularly as 2021's You Hear Georgia (which I reviewed here), to me, felt like a real return to a form after a couple of weaker albums. It was my favourite album that the band had released since The Whippoorwill and also their most rocking collection of songs since 2015's Holding All the Roses (which I reviewed here). My issue with much of the band's material since Holding All the Roses is that they just do not rock out enough for me. I enjoy the band's country side when it is used to contrast nicely with their harder rock edge, but both 2016's Like an Arrow (which I reviewed here) and 2018's Find a Light (which I also reviewed here) relied far too heavily on a more country-esque sound - with the former easily being my least favourite of the recent run. Both of the albums contain good songs, which especially come alive on stage, but they could not stand up to the excellent three albums which preceded them. The harder rock edge and the rawer production of Dave Cobb helped You Hear Georgia to really tick, then, so I had high hopes for Be Right Here - given that Cobb's services had been retained. I was disappointed, then, to find that, following an album of rockier songs, that Be Right Here largely returns to a mellower sound. Again, there are good songs here - but the album feels like a bit of a step back following the success of the previous album. As was the case on the previous album, the band were joined in the studio by touring guitarist Benji Shanks and touring percussionist Preston Holcomb (who really should just be made official band members at this point) - with sisters Sherie and Sherita Murphy again adding some additional backing vocals.

Despite my overall issues with this album, it actually gets underway pretty strongly - with the first two songs being more up my street. Opening with Dig a Hole; which includes a rare co-write for another band member other than frontman Charlie Starr, with keyboardist Brandon Still helping out; the mid-paced, shuffling rock is classic Blackberry Smoke. It never really kicks into a higher gear, but as an example of somewhat muscular southern rock with a deliberate groove and plenty of guitar riffs it works nicely. Drummer Brit Turner keeps the track on an even keel with his punchy drumming, which is augmented nicely by some percussion from Holcomb, whilst Starr's bluesy riff builds on the established groove. Occasional funky guitar additions and swells of Hammond organ are added to the mix to add some depth, but in general the arrangement is pretty simple. It is the sort of track which will certainly get heads bobbing and feet tapping live, although the groove is somewhat interrupted for the chorus - which feels a bit more expansive with more of an organ presence and the sisters' soulful backing vocals. A hard-hitting guitar solo and an electric piano-driven bridge section later add some additional variety, but the song rarely strays from its big groove - opening the album up nicely. Hammer and the Nail is another upbeat track, which opens with some busy acoustic guitar melodies - but it is not too long before the rest of the band crash in. Still's organ and boogie piano melodies are all over this track, whilst the multi-guitar approach of Starr, Shanks, and Paul Jackson sees acoustic guitar lines, bigger riffs, and slide melodies melding together to create a strong mix of sounds. The song is on the short side, at under three minutes in length, so it crams a lot into its runtime. Given the overall energy of the piece and the vibe that it seeks to create, though, this get-in-and-get-out approach works nicely. It is the sort of song that does not need to hang around for too long - with a busy guitar solo and a hooky chorus making a decent impact. Blackberry Smoke have written plenty of songs like this in the past, but this up-tempo country-tinged southern rock will never get old for me. Like It Was Yesterday is still something of a rocker, but it does not feel quite as strong as the opening couple of songs for me. It is still enjoyable, though, with its plentiful slide guitar melodies and a decent, driving groove - but there is a lack of a particularly strong chorus to really help the track pop. Songs like this on previous albums would have felt more anthemic, with the sisters adding big backing vocals during a stage-ready chorus - but this one lacks big standout hooks. There is plenty of decent guitar playing, though, with a fun guitar solo section which features plenty of old-school slide melodies - something which the band have really excelled at since bringing Shanks onboard. The song remains a decent effort, though, despite my reservations - and I imagine that it is the sort of song which would end up sounding much bigger live, as is often the case with Blackberry Smoke's songs.

Be So Lucky is weaker, though, and goes for something of a psychedelic sound which is never really capitalised on. At first it sounds as if the band are attempting to do something similar to Crimson Moon from their past, with effects-heavy guitars and a somewhat darker tone - but sadly this mood is shattered when the chorus rolls around, which is a more upbeat moment of modern country. The effects-heavy guitars are still present and sit behind Starr's vocal hooks, but the melodies just feel too upbeat for the rest of the song. Also, Still's Hammond is too low in the mix here. Songs like this require a lot more atmosphere than the band have allowed - and lots of retro keyboard sounds, with perhaps even a hint of Mellotron to really lean into a late 1960s psychedelic vibe. It shows that the band's love of country can sometimes come at the cost of a coherent and memorable song - and Be So Lucky feels like it is a track which does not know which way to turn. This is not to say that the band should never write any country songs, as they do excel at it when it is done properly - as the delicate Azalea shows. When a slower-burning piece is used on an album to act as a contrast to the rockier songs, the country side of the band really shines - and Azalea is strong. Starr's mournful vocals sit nicely against a myriad of acoustic guitar and mandolin melodies - whilst a subtle drum and percussion groove add a low key backing. This is not a big rocker, but it was never intended to be one. My overall issue with the band can be their want to add country to everything - but this piece of pure country works well on its own, and it brings out the best of Starr as a vocalist. It never really grows beyond its initial arrangement, despite a more keyboard-led section adding depth later, and the song works nicely as a mid-album change of pace. Clearly wanting to at least rock out somewhat on this album, Don't Mind if I Do then grabs the album by the throat and delivers one of the best cuts here with some old-school southern rock boogie, plenty of big riffing, and a strong chorus with the sisters adding some soulful backing vocals. Still's piano constantly fires away in the background to create that classic upbeat southern rock feel, whilst the three guitar players all chug away to create the fun song's overall rhythm. I had expected a bit more slide guitar here, but the guitar playing throughout is more traditional - with a blistering guitar solo which is more bluesy overall. This works nicely thanks to the overall groove, though, and the track is an overall highlight - and likely to become a bit live favourite going forward thanks to its energy and recognisable sound. Whatcha Know Good is a slower piece, with a mournful country vibe contrasting with the rollocking previous number. It is not a bad track, but it lacks big hooks. I like the presence that Richard Turner's bass is given during the verses, which helps the aforementioned mournful sound to shine, and the subtle slide lines which add depth - but there are no big hook that really jump out at me. I think that this is the side of the band which I like the least, as the song never really goes anywhere despite some decent ingredients.

Other Side of the Light is another acoustic-based piece, but the song feels a bit more upbeat overall. It is very much a country piece, but I like the song quite a bit. Unlike the previous number, there is a strong focus on hooks throughout. Starr's verse delivery feels quite upbeat despite the acoustic guitar backing - whilst the slide guitar accents feel like more of a genuine contrast with the vocal hooks than they did in the previous track. There is also more of a focus on harmony vocals here, too, with Jackson and the sisters adding plenty of depth. Due to all of this attention to detail, the song just feels a lot more pleasing to listen to. It also helps that it is more upbeat. Despite having the feel of a ballad, there is a Tom Petty-esque energy throughout - with the acoustic guitar melodies having something of a brashness to them, whilst the drums retain some punch and the chorus is something of an earworm. The slide playing throughout is excellent, too, and it this song shows that I do not have an in-principle objection to the band playing country - despite my wider concerns. Following a distant a cappella intro, the album's penultimate piece Little Bit Crazy becomes the last proper rocker here. Like Hammer and the Nail, it is the sort of song which Blackberry Smoke have written many times - but a hooky chorus and a great southern rock stop make it infectious. The song is almost certain to become a big live favourite going forward, thanks to Still's boogie piano melodies and a chorus which can easily be latched onto. It is a song which very much goes for a feel-good vibe over anything else. There is nothing complicated about the track at all and it is clearly written to be a fun hoedown piece live. For me, Blackberry Smoke are generally at their best when operating in such waters. They have a natural feel for upbeat numbers like this and they make the style sound so effortless. Songs like this are why I will always stick with Blackberry Smoke despite their ups and downs as I know that for every strange country track they will then knock it out of the park again with some of the best southern rock anthems of the modern day. The album then comes to a close with Barefoot Angel, a country ballad which sadly does not end the album on a high - with Azalea earlier in the album doing this sound more successfully. Barefoot Angel has more of a rocking base, thanks to a ponderous drum beat and some loud piano passages, but it all feels a bit laborious in my opinion. It is clearly supposed to be more of a downbeat track, which is fine in principle, but it just really plods along at a tedious pace without ever really getting going. Again, this is a sound which the band have done before - and it has never really worked for me previously, either. The song feels particularly slow given the upbeat, fun song which preceded it, too, and the sluggish piece is one of the album's weakest moments - and it is always a shame when an album ends poorly. Overall, then, for me, Be Right Here is a mixed bag. Where the band play to their southern rock strengths they excel but the country moments are generally weak efforts in my opinion - and they stop the album from being another great one like You Hear Georgia. The album is stronger than Like an Arrow, though, and there is still plenty to enjoy here - I just wish that there was more heft throughout.

The album was released on 16th February 2024 via 3 Legged Records. Below is the band's promotional video for Little Bit Crazy.