When Ryan Adams released his hit cover version of Taylor Swift’s 1989 two years ago, some fans and critics guessed that the recently divorced singer-songwriter was working through his heartbreak by borrowing the words and melodies of one of modern pop’s best lovesick balladeers. But in retrospect, 1989 may have just been an extended rehearsal for Adams’ new album, Prisoner, on which he’s as bruised and exposed as he’s ever allowed himself to be on a record—and all without forgetting to write hooks. Not since Easy Tiger, 10 years ago, has Adams made a record this focused and consistently tuneful. Prisoner belongs on the shortlist with Heartbreaker and Whiskeytown’s Pneumonia as the LP to hand to newcomers to explain what makes Ryan Adams special.
Where 2011’s Ashes & Fire and 2014’s Ryan Adams suffered some from a heavier touch (and a paucity of memorable songs), Prisoner exhibits an ease that belies its rough origins. The record’s grandest and most aggressive track is its opener, the pointedly titled “Do You Still Love Me?,” which begins with churchy organ, short guitar stings, and Adams’ voice, and retains a start-stop structure even after the stings become riffs (and then ultimately a taut guitar solo that sounds like an homage to Joe Walsh in his James Gang days). But that’s really the most overtly ambitious song on an album that seems to take its cues more from Bruce Springsteen’s Tunnel Of Love and scattered Smiths B-sides.