Album Review: Liam Payne Tries To Do It All on Long-Delayed 'LP1' Debut Release; End Results Are Mixed

   ★ ★ ★ out of 5

   Following the announced hiatus of British boyband One Direction, each of the young men quickly began to carve a path toward potential solo career success. Zayn and Harry might have bested his peak on the Billboard Hot 100, however, when Liam Payne sent his official debut single “Strip That Down” to the top ten on the chart, people soon took notice.

   Unfortunately, following that debut release, Payne’s journey toward his debut album has been everything but smooth. Impressive follow up singles such as “Bedroom Floor” and “Familiar” failed to make a chart dent, collaborations with Rita Ora and Zedd stalled in the lower region, forcing Payne to hit pause on the album and share his First Time extended play instead.

   Now, following a bit of a reboot with the release of new singles “Stack It Up” and the latest “Live Forever” featuring Cheat Codes, Payne finally presents LP1 to the world. A mix of unheard material and a string of the seven singles shared since 2017, the project is a genre exploration, tirelessly working to find where Payne’s style and sound could best excel. For better or worse, while lacking cohesion, the album is a fun, sultry ride.

   Opening with new kickoff single “Stack It Up” featuring A Boogie wit da Hoodie, the energetic pop/hip-hop hybrid is structured similarly to Payne’s biggest chart success to date, “Strip That Down”. While acknowledging the hard work that comes with a successful career, Payne playfully sings of always having money on his mind. The lyrics are not deep, but with a strong verse from his guest and a confident vocal delivery, the song is the most fun we’ve heard the artist have in a while.

   For a quick, mellow turn, Payne cannot get a former flame out of his mind on “Remember”, a sincere plea for a return to better times. “Wish I could press reset, but it’s not that easy, how can I forget someone who gave me so much to remember?,” he questions on the hook, forced to relive the pain of heartbreak when he is constantly reminded of the relationship. The song cleverly uses Payne’s soft vocals and delicate production to get the somber message across.

   Frustration from never being able to maintain a lasting relationship seeps into “Heart Meet Break”, a moody breakup number with a bit more pep in its step. Repetition is the enemy as Payne replays how every relationship turns out: heartbreak temporarily soothed by drunken forgetfulness. Clocking in at just under two minutes, the song is still effective in leaving a lasting impression.

   “Hips Don’t Lie” had promise. Production from The Monsters & Strangerz (Halsey, Maroon 5) provides Payne with a seductive R&B environment to thrive. However, clichéd lyrics sink the finished product. The artist calls out a potential one night stand for teasing, singing that he hopes the signals he is receiving do not add up to nothing. It is a strange, aggressive premise to get behind, rooting for the girl instead of the artist.

   With a subtle Caribbean flare, Payne encourages his significant other to vouch for their relationship on “Tell Your Friends”, a defensive though passionate argument focused on highlighting the couples’ strengths. “Cause they in your head but I'm in your heart, put up a fight before they tear us apart, you know me, you know they don't even know me,” he charges on the second verse, encouraging his lover to ignore the haters and instead focus on the relationship highs.

   Payne admits that no relationship is perfect, that acknowledging and talking through problems on “Say It All” will only strengthen the bond. With production credit from Ryan Tedder, the gentle, pop-leaning effort creates the perfect medium to allow for tough conversation. The production foreshadows a happy conclusion, a positive quality for any mainstream pop single. Payne’s vocal delivery also conveys a supportive, understanding viewpoint that helps carry the endearing message.

   The artist resorts back to bedroom shenanigans on “Rude Hours”, a disjointed carnal jam that, again, paints Payne as an awkward, demanding lover. While he might be worried about the safety of his partner -- both have been drinking -- he praises them for following directions and keeping the night a secret among themselves. If Payne wants to portray himself as a sensual, respectful lover, there’s a better way to go about it.

   Electronic trio Cheat Codes aid Payne on current single “Live Forever”, a radio-geared pop effort that highlights the positive reinforcement we receive and feel when we have another advocating for us. When the artist felt at his lowest, ready to give up, a significant other helped change his trajectory. “All that runnin', gonna give it up for you, nothing ever get me high like you do, some way, somehow, you and I, we're gonna live forever,” he infectiously celebrates on the chorus.

   “Weekend” finds Payne caught up and distracted by a fling. The artist portrays confidence while supported by hip-hop influence as he struggles to come to terms with a temporary connection. Now, fixated and infatuated, the artist relives the moment of pleasure over and over again, letting it cloud his thoughts.

   And now, for the problematic, controversial album inclusion. Upon release of the album, critics negatively pointed to “Both Ways” and Payne’s apparent female bisexuality fetish. Glorifying a threesome for his own pleasure, Payne sings of accepting and enjoying the sexual situation. “She said we're young, and we're stupid, she said, ‘come on, watch me while we do this'”, he sings, not really helping his case while doing so.

   The rest of the album plays out like a mini greatest hits collection. “Strip That Down”, the artist’s best solo chart performance is fun, but pales in comparison to the rest of the track list. “For You” alongside Rita Ora is a sultry, synth-pop collaboration that deserved more attention than it originally received. “Familiar” finds Payne teaming up with J Balvin for a Latin-tinged effort where his vocals prove surprisingly effective in achieving an international hit. Payne then moves to the dance floor for the anthemic “Polaroid” collaboration with Jonas Blue and Lennon Stella before joining Zedd on “Get Low”, the tropical-influenced club anthem that many seemed to poke fun at. Finally, we are treated to underrated “Bedroom Floor”, the electro-pop dig at a former lover who cannot seem to let go.

   The 17-track album officially closes out with an unexpected though appreciated Christmas effort. “All I Want (For Christmas)” is a passionate, authentic plea for a second chance. While acknowledge the constant breaking up and making up, Payne remains adamant that the relationship is strong enough to withstand the fights and bickering. “If we can make it through December, every New Year we'll have together, baby, all I want for Christmas, is you and me to fix this,” he delicately sings.

   LP1 is admittedly a strange release. As the second-to-last full-length album from a One Direction member, Liam Payne had something to prove, as he plays catch up with the rising profile of his fellow bandmates. The album does carve a genre niche out for Payne, with R&B and hip-hop influences dominating the track list. However, at times, that genre exploration does come off as a gimmick, as if the artist is playing a role. That is when the cringe-worthy sex jams sound alarming, or the braggadocios anthems fall flat and uninspired. But that doesn’t mean there are not redeeming qualities. Payne still commands attention with velvety vocal abilities, when used properly. The slower, passionate performances and pop-leaning efforts work wonders for him. Perhaps this lengthy debut works mostly as an indicator of strengths and future direction, and not as a solid introduction.

Tracks to Hear: "Heart Meet Break", "Tell Your Friends", "Live Forever", "For You", "Bedroom Floor" and "All I Want (For Christmas)"