THE DRIVER ERA - OBSESSION
The Driver Era take us on a journey around love, relationships, both short and long term, and the complications that can occur throughout in their new album, Obsession. Using a range of styles, some old, some new, this album is a perfect mix of the classic Driver Era sound that fans know and love, and a look to the future for their new era.
We are introduced to the album with single ‘You Keep Me Up At Night’. The bass line throughout the track provides the perfect upbeat tone for the rest of the song as Ross’ familiar vocals gave the perfect mix of musicality and purpose, and the introduction of Rocky’s more melodic vocals provide a welcome split between choruses. Overall, this track is the perfect introduction to the album and the embodiment of The Driver Era’s genre as a whole.
The intro to ‘Don’t Walk Away’ is almost calming as the gentle guitar riff repeats itself, with the addition of some softer vocals later on, think late night walk in a quiet scenic area of town. This is, until the chorus, where there is almost a nostalgic feel to the music, providing what could be a reminder of an 80s funk track with a modern twist provided by the addition of a drum machine- think a 2025 take on ‘Le Freak’ by Chic.
We’ve all seen those videos of The Driver Era concerts on TikTok, and ‘Touch’ in particular is where this side of the duo really comes out. With the lyrics “If you like me, we can T-T-Touch”, and “let’s get heavy”, accompanied by a simple yet heavier bass line, the tone of the album completely shifts into a more mature vibe with this track.
Track number four, ‘Same Old Story’, would be the perfect song for tour, with its repetitive lyrics “It’s the same old story, I always see you at this party,” and upbeat synth. The lyrics touching on the familiarity of ending up with the same person each time you go out, but not particularly being mad about it. There are plenty of breakdowns throughout the track which would give the brothers the perfect opportunity to engage with their audience.
‘The Weekend’ features Fern, a co-writer on ‘Everybody’s Lover’ from the album, and an artist in her own right. The melodic blend of voices throughout the verses contrast perfectly to the staccato feel of the chorus, which brings in a more classic band feel. The song perfectly encapsulates the feeling of being free to be spontaneous. Fans of bands such as 5 Seconds of Summer will appreciate this track for the raw sounding instrumentation and heavier guitar sound. In itself, the song is extremely catchy and perfect to sing along to, alone or as a duet, and is the perfect follow-on from ‘Same Old Story’.
‘Nothing Left To Lose’ brings the vibe of the album back down, with a lo-fi feel to the track; In comparison to the others, this one is a very simple, ambient song. With frequent repetition of the track title “Nothing left to lose,” accompanied by a softer melody that builds slightly into a synth upbeat break for the outro, contrasting to the main body and providing listeners with a surprise they may not have been expecting, however perfectly transitioning into track number seven.
‘Don’t Take The Night’ has the most production value, with the noticeable addition of synth, keys and chimes, making a welcome opposition to the other tracks. Lyrically, the song is very metaphorical, repeating the phrase “Now the sunlight’s fallen, our time to celebrate,” touching on perhaps more explicit topics in a manner that isn’t actually explicit at all. Overall, this track is an easy listen, and definitely an equally easy singalong for fans.
‘I’d Rather Die’ brings back the classic Driver Era sound, for fans of the band, think the Girlfriend album. A very vocal-focused track, with the star of the instrumentation being the drums setting the tempo, this piece is short and sweet, contrasting to the production element of the previous track and perfectly encapsulating the band’s sound as a whole.
Track number nine, ‘Can’t Believe She Got Away’, is where the album really begins to shift focus to the lows of a relationship. The opening line of the track being “Go care if you want to” instantly brings in that colder energy, with the deeper undertones of the instrumentation helping to set the mood. There is almost a sense of uncertainty and uneasiness throughout the track, repeating the question, “what are we doing anyway?”- a perfect representation of the thought process of re-evaluation.
‘Everybody’s Lover’ focuses on the topic of being involved with somebody who isn’t loyal to you, therefore being “everybody’s lover.” Quoting friends who tell you to leave the relationship, and calling out the other persons behaviour, comparing the relationship to “work” but still not leaving; almost telling a story with these lyrics. The song almost contradicts the others in its negative lyricism compared to the spontaneity of ‘The Weekend’ and ‘Don’t Take The Night’. A possibly relatable track, yet with a classic pop feel to it despite the more sullen meaning.
‘Better’ brings the album full circle, with lyrics “you make me better” and the general upbeat energy of the track pulling back into the positive emotions within a relationship, ending on a very high note, and leaving listeners in an optimistic state of mind.
This album truly encapsulates the messiness of romantic endeavours and will prove relatable for most. The exploration of tones and sounds ensure that there is at least one track that can be enjoyed by all listeners, whether this be their first impression of the band or just another album for the collection.
Caitlyn Finkelstein
★★★★★