Entering Heaven Alive is the second album Jack White has released in 2022 and is the clear companion piece to the previously delivered Fear of the Dawn, so much so that closer “Taking Me Back (Gently)” is gypsy jazz, rambling revision of the earlier released punk slamming, speaker rattling banger. That juxtaposition is at the core of White’s offerings; where Fear of the Dawn was all manic tension wrapped up in ear blistering pedal effects with songwriting barely a second thought, Entering Heaven Alive contains a loose, relaxed, jam session vibe, supported by nuanced, thoughtful songs throughout.
The album opens with the robust “A Tip From Me To You” as acoustic guitars, piano and bass coalesce around White’s probing lyrics about happiness, love, and loss in dynamite fashion, proving Jack doesn’t need revved-up guitar tricks to get his talent across. However, he has not abandoned that sense of pushing songs past boundaries, and at times losing the plot, noticeably on the overthought “Help Me Along”. The track throws everything from orchestral string arrangements, cinematic grandeur, tempo changes, and bombastic breaks on the only misstep here.
Outside of that, White’s creativity percolates and his never resting, always searching, artistic instinct serves him well. The more reserved vocals and eerie tone, with images of burning sugar cane, haunt the affecting “All Along The Way”’ while the fiddle and bizarre buzzing keys/guitar vibrate through the dazzlingly swelling “If I Die Tomorrow”. There are a few excellently stripped-down ballads such as the sashaying country, barroom piano tinged “Please God, Don’t Tell Anyone” and the direct, powerfully effective, “Love Is Selfish”.
White also keeps his sense of whimsy alive noticeably on “Queen of the Bees” recalling The Beatles in tone and light, domestic, beverage-based lyrics while “A Madman From Manhattan” stumbles poetic and discursive with downtown jazz-influenced grooving. That freedom around songs that sound like they sprung from jams is the album’s strongest point, as the funky strutting of the riff centric “I’ve Got You Surrounded (With My Love)” builds with piano, guitar, and rich bass in a secured, tantalizing style. Speaking of bass, the killer low-end sounds so encompassing, bumping and leading “Tree on Fire From Within” which uses dramatic singing/lyrics and piano flair in a confident marching fashion.
White constructed both albums during the pandemic lockdown, going a little haywire with his writing, recording, production, and distribution, but didn’t everyone go a bit crazy? Besides, limits have always brought out the best in White. The idea of splitting these albums into two staggered releases is odd though and perhaps one full album to combine the best tendencies of both may have been the way to go, but as it stands, both deliver respective aspects of White’s talents. Entering Heaven Alive is a joy to sink into and overall one of the most easily accessible and best of Jack White’s solo career.
