Lukas Nelson & Promise Of The Real Reconfigure Sound & Presentation On New Self Titled LP (ALBUM REVIEW)

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Lukas Nelson and Promise of The Real features a kinder, gentler version of the band that barnstormed concert stages and so ably accompanied Neil Young in the studio the last few years. On this, their self titled third full-length studio album, the ensemble appears in an expanded six-piece form, a reconfiguration focused on the increasingly high-profile of its leader that, at least for now, dramatically redefines the group.

And, unfortunately, not wholly for the better either. This record all too often it sounds like a frontman backed by sidemen rather than a single unified ensemble. And it must have more to do with brother Micah present only on one track “Runnin’ Shine;” perhaps new members, Jesse Siebenberg (pedal steel, Farfisa) and Alberto Bof (keyboards) had not been fully assimilated into the group at the time of this recording,

That youthful, hirsute visage of Nelson on the front cover portrait belies a reedy voice reminiscent of his father Willie, but it’s noticeably deeper than on the two previous records, Wasted and Something Real. Meantime, as POTR enlarges to include pedal steel and additional keyboards besides percussion, upright and electric bass, and drums, Lukas wields the sole electric guitar, the massive chording of which appears in the first few seconds of “Set Me Down On A Cloud,” though hardly anywhere else.

The gospel tinge imparted to that track by the vocal presence of Lucius’ Jess Wolf and Holly Laessig is equally effective as a contrast to its lyrics’ decidedly secular sentiment. The singing also functions as back drop to the staccato likes of Nelson’s extended solo as the track rides out, but such loose freewheeling charm as this, which dominated the group’s first two records, is downplayed: producer John Alagia (Dave Matthews, John Mayer) maintains a more polished, streamlined sound. Still, to be fair, though it’s a thoroughly professional approach that suits the swell of strings on “Breath of My Baby” as much as the loud pop of Tato Melgar’s congas on “Fool Me Once.”

Slight as the latter tune really is, it’s tailor-made for live sing-alongs. The hushed acoustic observations of ”Just Outside of Austin” will work effectively on stage too, injecting proper pacing even if Willie Nelson isn’t present to play lead guitar and further the flow of the tune in the song sequence as a whole. On “Carolina,” Lukas and POTR engage in such an easygoing honky-tonk interlude, it may be hard to fathom the participation of Lady Gaga, but she’s here on vocals and on “Find Yourself” as well.

The latter is another number here with more emphasis on structure than spontaneity, so fans of this group who dote on the spur of the moment(s) of their shows and previous albums may find their appetites whetted only slightly, if at all. And neither the clever word play of “Four Letter Word” or the contrary attitude of “High Times” (too studied for its own good) find Nelson and POTR conjuring up genuine intensity through a collective effort.

Still, it’s a natural progression for any youthful band, in the course of its evolution, to avail itself of the discipline inherent in studio work. With this album, Lukas Nelson and Promise of the Real have done exactly that and it’s a natural extension of their prior efforts. Yet even as generally fruitful as are their labors, particularly as captured on the collective interaction that unfolds during the longest track of these twelve, “Forget About Georgia,” a live album seems the only natural and inevitable follow-up, if only to prove the group hasn’t been tamed to a fault with the tear-jerking finale of “If I Started Over.”