Example - Playing in the Shadows

There's a sneaky suspicion that Example is not a musician I should enjoy. Given the influences and peers with which he's often associated - in a year that saw the emergence of Professor Green and Wretch 32 amongst others - I should recoil in horror. Yet I don't know if it's the poppy accessibility about his debut, or the helpful addition of being involved in a feud with the eternal cunt Cher Lloyd, but I'd actually consider myself a fan, especially after the excellent breakthrough Watch the Sun Come Up. In addition to great singles like Kickstars and Won't Go Quietly I enjoyed Sick Note (and that's with a No Doubt sample) and Hooligans amongst others.

Whilst the first two singles, both of which have topped the UK charts, would give some signs of minimal change in sound and genre by Gleave, Playing in the Shadows eventually explores some quite varied subgenres all under the electronic umbrella. Of course, it's all held together by your signature Example wordplay and dance-pop conventions. Opener 'Skies Don't Lie' has references from Nick Cave to Dr. Jekyll and Mr. Hyde - quipping "I'm unorthodox so go call the cops, I ate all your crops" in amongst other unusual misnomers and misfires. The instrumental is fairly orthodox though, all eerie gospel-synths patiently building towards a Justice-bred breakdown.


And they don't come more safe than single 'Stay Awake' with its earnest anti-drugs, anti-clubbing message that seems a little unusual given the musical genre through which it's purveyed. I suppose you could put this down to an attempt to cover all his bases, but unless it's all tongue-in-cheek you can't be on both sides of club culture. Lead single 'Changed the Way You Kiss Me' however ditches all political stances in favour of a safe and stomping love-in-this-club belter. It's hummable and rather good, yes. From hereon though the music becomes more explorative - 'The Way' has a distinctly 80s europop tune and places Example in contemplative mood, seeking guidance from...anyone really. The darkness remains lurking in 'Natural Disaster', where the title laments what should be: "We should be happy ever after, happiness and laughter". Not quite a tsunami but we'll forgive him this one, since the backing is again solid and infectious.

Unfortunately there are times where Example slips into lazy habits and things go awry; 'Never Had A Day' thrives off a highly predictable tune (that sounds a little bit like Ian Van Dahl's Castles in the Sky to me) for a bit of sunkissed romantic reverie. Pianos interrupt all the hubbub though for 'Microphone', a poignant and reflective track that's as lovely as it is surprising. The record's title track wafts in an arabesque guitar hook that's constantly simmering above a threatening dubstep distortion (that of course surfaces in the final third of the track). One of the strongest dance hooks though is found on 'Midnight Run', so I'm a little confused by its lack of single promotion duties.

The drug usage metaphors return on 'Under the Influence', where said narcotic is (predictably) a special lady. One of the heaviest tracks on offer it flicks almost schizophrenic between ambient romance and frenetic breakdowns - and it's a mix that doesn't quite work. The less-than-poetic verses to 'Wrong in the Head' again, sadly, feel more like the hangover experience than a party anthem. There then comes the decision to end on something of a ballad; 'Anything' touches upon some of Gleave's earlier work (notably the excellent Watch the Sun Come Up) and the album is saved from fizzling out.


I never really know where to place Example as a lyricist. Hip hop snobs would disregard him immediately as a pop-singer with a few obvious quips to hand, and yet I'd be even harsher. Some of the rhymes he opts for are painfully embarrassing at best, yet I can't help but admire him for trying to swerve away from your generic "in the club, sipping gin, yeah, work that girl" safety nets. Musically there's nothing too challenging here for Gleave, and he's certainly carved out a niche for himself, but ignoring all of the commercial success is there anything exceptional here? No. Much like 21st century pop in general, this album is unsuccessful in its explorations and innovation, and settles for mediocrity.

Rating: 5.5/10
Highlights: Anything, Microphone, Changed the Way You Kiss Me, The Way, Midnight Run
Avoid: Never Had A Day, Wrong in the Head, Under the Influence

Artwork Watch: Oh please.