In response to the COVID-19 pandemic,
Sam Smith
delayed, reworked, and retitled their third album, originally planned for release in May 2020.
Love Goes
landed that October, and in somewhat anticlimactic fashion appends as bonus tracks most of the lead-up singles, spanning a period of well over two years, careening from the disco-house of "Promises" to the arena pop of "I'm Ready." Another throw-in is the intended title track. Relegated as it is, "To Die For" -- a gentle piano ballad with
Smith
longing for idyllic companionship as they gaze at their "solo shadow on a sidewalk" -- fits with the album proper, drawn from the singer's first real-life heartbreak. The connection
makes with it and the surrounding material here doesn't sound any tighter than it did on
In the Lonely Hour
or
The Thrill of It All
, but that's less a criticism than a credit to them as a consistent performer.
previously had no trouble expressing romantic torment, and that continues throughout the reliably low-spirited and highly expressive
. One divergence from the previous albums is in the way
handles separation, almost bursting with regret on the lean "Forgive Myself," reminiscing with fondness on "For the Lover That I Lost," and extending benevolent acceptance in the pulsing and swirling "Another One," containing one of their most nuanced and appealing vocals.
elsewhere romanticizes recklessness in the a cappella opener "Young" and the doubly wistful send-off "Kids Again." Made with staunch collaborators
Jimmy Napes
,
Stargate
, and
Disclosure
's
Guy Lawrence
, and a mix of other high-profile songwriters and producers, the album is a tightly hemmed and neatly pressed sequence of fairly cosmopolitan dance-pop grooves and finely measured ballads. ~ Andy Kellman