The Black Keys – Without Rain, There Are No Flowers

      Established over 24 years ago, The Black Keys took their time before entering the mainstream arena. It wasn't until the early 2010s that the Ohio band shifted from their gritty underground roots to embrace a sound that was larger, cleaner, and more aligned with stadium rock—this sonic evolution has significantly enhanced the band's success.

      While their initial five albums remained somewhat obscure, their critically acclaimed sixth studio album, 'Brothers' (2010), was swiftly followed by a bold seventh release, 'El Camino' (2011), solidifying their position as the definitive contemporary blues-rock representatives, at least commercially.

      They have adhered closely to this successful formula since then. Recent albums 'Dropout Boogie' and 'Ohio Players' have seen Dan Auerbach and Patrick Carney deliver reliable, straightforward blues-rock tracks with a polished finish. Therefore, it comes as no surprise that their latest album, 'No Rain, No Flowers,' follows the same trend with mostly favorable results—an anthemic and smooth sound, though lacking in risk-taking.

      With last year's 'Ohio Players' featuring contributions from notable artists like Beck and Noel Gallagher, The Black Keys this time sought collaboration with well-respected songwriters instead of performers. Their self-produced effort was recorded at Easy Eye Sound Studios in Nashville and includes input from prominent figures such as current country producer Daniel Tashian, longtime Lana Del Rey producer Rick Nowels, and keys player/producer Scott Storch (known for his work with Dr. Dre and The Roots).

      However, the initial impression isn't immediately impressive—in fact, it's quite the opposite. The self-titled track serves as a sluggish opener that fails to excite. The repetitive “No rain / No flowers / More pain / More power” chorus feels uninspired, and the song itself resembles bland Radio X material. The groove-centric 'The Night Before' also struggles to engage listeners, lacking the necessary dynamism to keep us interested.

      Initially disappointing, but in fairness, they do manage to recover. On 'Baby Girl,' a bluesy piano hook, distorted bass, and Dan’s heartfelt vocals provide a refreshing change. Meanwhile, the outstanding 'Down To Nothing' introduces smooth, soulful elements, perfectly complemented by funky riffs and nuanced keys.

      The second half of the album shines. 'Man On A Mission' combines gritty riffs, catchy choruses, and driving percussion for a thrilling experience that stands out as one of the band's best efforts in years.

      Additionally, 'All My Life' presents a bright slice of funk-rock escapism, while 'A Little Too High' amplifies the guitars, delivering the kind of rousing rock anthem that could have been more prominent here. To conclude, 'Neon Moon' has echoes of John Denver’s 'Take Me Home, Country Roads'—a closing track that may not appeal to everyone, but wraps up the album with an infectious campfire singalong.

      After enduring the forgettable start, 'No Rain, No Flowers' emerges as another beautifully produced mainstream rock album from a duo at the peak of their abilities. Though consistently high quality, they still fall short of the heights reached during their early 2010s peak.

      While these smooth and soulful blues-rock songs offer comfort, The Black Keys could benefit from infusing a bit more grit and raw charm to distinguish this album within their discography. Nevertheless, it remains a solid effort overall.

      7/10

      Words: Matthew McLister