Album review: Kings of Leon, WALLS

Kings of Leon used to be the future of stadium rock. That was before they apparently lost interest in being the future of stadium rock, circa 2010’s pulse-free Comes Around Sundown. Ever since the three Followill brothers (and cousin) have cut increasingly enervated figures — stationary and aloof on stage, bland on record.

Perhaps a fightback is underway, with their seventh studio album returning to the glossy commercialism of their biggest record, 2008’s Only The Night. Working with producer Markus Dravs (Mumford and Sons, Coldplay), the group strain for the anthem wallop of ‘Use Somebody’ and ‘Sex On Fire’. The tone is strident and crowd-pleasing throughout.

This will appall early fans drawn to the Kings of Leon’s initially incarnation as Southern Gothic rapscallions (as exemplified by their still credible debut Youth & Young Manhood).

Yet for the masses who up KoL begun headlining festivals and dating models, this retreat to hit-making first principles will be perceived as a positive. ‘Around The World’ sounds like Oasis wandering south of the Mason-Dixon line; ‘Waste a Moment’ and ‘Reverend’ surf on a rasping swagger and rocket-powered guitars. It’s brash, glib, undeniably catchy.

WALLS (an acronym for “we are all love songs”) is also lowest denominator material — engineered to appeal to the widest possible demographic.

And yet, at a moment when Coldplay are capable of filling Croke Park in a heartbeat, the return of Kings of Leon feels like a necessary corrective.

Even if you could care less for their shticky-rock or plaid shirted machismo, it is obvious that stadium pop urgently requires an infusion of bad boy braggadocio.

Until someone better comes along, Kings of Leon are the outlaws for the job.