I think Brandon Flowers or his band, The Killers, will make a better album than “Flamingo” in the future, but this is a step in the direction of greatness. Working sans band, Flowers’ most impressive feat on this disc is that no two tracks can be confused with each other, starting with “Welcome to Fabulous Las Vegas,” which feels like an aural cityscape, and concluding with “Swallow It,” which seems to be a message targeted at one person.
I hesitate to say that “Flamingo” is better than The Killers’ “Hot Fuss” and “Sam’s Town,” because it doesn’t have a standout track on par with “Mr. Brightside” or “Bones” — or “Human,” from “Day and Age,” which I didn’t like as an album.
Nonetheless, “Flamingo’s” overall effect is indeed to hook to listener. I thought I liked his work more for the rock ‘n’ roll side of things, but perhaps subconsciously I’m getting into Flowers’ lyrics, or at least the way he belts them out with such conviction, as on “Welcome to Fabulous Las Vegas”: “Didn’t nobody tell you/ The house will always win.”
Flowers (and The Killers) are among the artists in recent years who have been compared to 1970s-era Bruce Springsteen; Arcade Fire, Marah and The Gaslight Anthem are other examples. I cringe at those comparisons, because no matter how good those bands are (and they usually aren’t particularly good), they can’t compare to the raw, four-hour-concert passion of early Bruce and the E Street Band. But I’m starting to understand why Flowers gets that label, and it’s not just because this album’s first line is about a rusted-out DeVille.
My pick for best track is “Hard Enough,” which has a lot of Springsteen-esque feeling to it: “This has been hard enough on you/ I know it’s been hard enough on me/ I’m telling myself that I can roll with the changes.” (Bonus points for having Jenny Lewis harmonize on the vocals).
The synthesizer-fueled “Jilted Lovers & Broken Hearts” is also Boss-ish in the way Flowers is inspired by his hometown of Las Vegas (which has similarities to Springsteen’s Jersey shore stomping grounds). He doesn’t shy from the gambling metaphors: “Why did you roll your dice/ Show your cards/ Jilted lovers and broken hearts/ You fly away while I’m stuck here on the ground.”
Also rather irresistible are “Magdalena,” which uses a steady dose of “Oh-oh-oh-ohs,” and the slow-burning “On the Floor,” where Flowers shows off the deeper end of his vocal range.
Closing track “Swallow It” would make Mason Jennings proud: “You could not swallow it/ No baby, you’re not ready/ Slow down, and take the time to evolve.” It’s not epically catchy like a Killers single, but it works in an understated, bouncy, Jennings-esque way.
There are no duds on “Flamingo”; this is a front-to-back, no-skippable-tracks disc. Still, it won’t be the best album Flowers or The Killers put out. Greatness is in their future; for now, I’ll settle for goodness.
What are your thoughts on “Flamingo?” Is it an impressive songwriting effort, or not as traditionally catchy as you had hoped?