Joe Bonamassa – Breakthrough

The hardest-working blues musician has released his seventeenth studio album, titled “Breakthrough.” That breakthrough is, of course, a long-established fact, particularly for the live circuit, with sold-out concerts in venues like the Ziggo Dome, and perhaps less so for his albums. But then again, which artist sells millions of those nowadays?

In any case, I had already wondered with his previous albums when the decline in quality would set in, given the uninterrupted stream of releases. “Breakthrough” is his fiftieth album if you count all his collaborations (including those with Beth Hart, Black Country Communion, Rock Candy Funk Party) and the many live albums! Until now, however, what was offered was more than good, with his latest, “Time Clocks” from 2021, perhaps as the highlight.

However, this “Breakthrough” finally reveals some minor flaws in quality. Not many, but occasionally it all sounds a bit too easy. Joe himself indicates that the album was written directly after his last collaboration with hard rock formation Black Country Communion, and that in response, he preferred somewhat less “heavy” numbers. That succeeded, but it’s a shame for the blues-loving rockers among us, like me.

Although there’s no bad song on it, there are still a few numbers that are just a bit less challenging than we’re used to from him. The title track is indeed catchy, but the chorus is repeated just a bit too often. The shuffle “I’ll Take the Blame” adds little to his oeuvre, just like the somewhat too light “Still Walking With Me” and the disappointing closer “Pain’s On Me.” It’s all just a bit too cheerful for blues music. Although each song naturally contains another fine solo that keeps you engaged, it remains Bonamassa after all.

Fortunately, there are also some standouts. There are two blood-curdlingly beautiful ballads. The long, threatening, and extremely sensitive “Broken Record” takes its time, but features a lovely chorus, nicely emphasised by both background singers, and contains two fantastic solos. “Life After Dark” stands out for its fine vocal lines, is a touch “heavier”, and contains the most beautiful solo on the album. Additionally, the fast “You Don’t Own Me” jumps out due to its… well, uptempo character. And single “Drive By The Exit Sign” is a catchy summer number for the car.

All in all, Bonamassa delivers excellent quality once again, especially since regular producer Kevin Shirley has provided the whole thing with outstanding sound. Yet “Breakthrough” as a whole is just a bit less adventurous and challenging than classics like “Royal Tea,” “Dust Bowl”, or “Redemption.” (7/10) (Mascot Records)