REVIEW #1: 72/100

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Shawn Mendes is an artist who has truly begun to flourish over the past couple of years. Despite what some may consider to be a rocky start with his first few albums, he really found his footing with the release of The Miami Experiment which quickly led into what is considered his best project to date, his 2020 self-titled album. Not only becoming one of the year’s most beloved albums, it also became one of the most successful and to date is the biggest success in Shawn’s career. Now, after a brief re-issue and a venture into the world of film, Mendes returns to music with his fourth studio album which promises to be unlike any he has released before.

 

The album begins with a short, atmospheric instrumental intro which is certainly a beautiful piece of composition and a very soft start to the album. Of course, how well it functions as an introduction can only be seen as the rest of the album plays out, but it certainly feels like a theatrical and powerful start for Shawn. The album moves into it’s lead single right off the bat, and Shawn’s second #1 hit, You Before Me. Like much of Shawn’s life recently, the song appears to centre on his engagement with now husband Connor. Easily the most pop output of Shawn’s career, the atmosphere is nailed and conceived strongly particularly in the choruses that feel entirely euphoric. Lyrically, the song has an intimate and personal charm to it throughout the verses, which is lost slightly in the chorus but not enough to derail the song. The Long Way takes a more dream-esque sound that feels solid in production and in it’s lyricism although can feel a little on the nose at times. This track truly excels with it’s melodies, crafted in such a pop perfected way that feels natural for Shawn. The message of the song does feel even so slightly out of place at the beginning of the album (hearing “we’ve finally learned” in the second track definitely feels like we’ve missed a bit of build up here!) but that doesn’t take away from the quality of the song itself. It’s a similar story with Dancing In The Dark, although this time with even stronger production and slightly less solid lyrics (not entirely sure how you walk with your hands!) but there’s a real sense of connection between Shawn and his subject here which really shines through.

 

Wildflower feels like a real turn here, showcasing a very different side of the album which is clear from the very start of the production. It’s a simplistic yet elegant self-love anthem, which isn’t necessarily a new concept but it works due to it’s authenticity, allowing it to feel like a natural comfort from Shawn rather than being overcomplicated at any point. Without a doubt, the high point of the album so far! That doesn’t last long though, as The Last Train Out of Paris comes in right away to take that title. The production tones down a little here and allows Shawn to sour through the track in what feels like the album’s most personal moment, not for it’s vulnerability or it’s major revelations, but for the sincere connection between Shawn and Connor seen in the track and the insight into their relationship in a way that feels particular to them. There are a few songs about their relationship here that feel vague enough to not apply directly to them but rather could fit any couple in love, but this track is the furthest thing from that sentiment. Talk allows the production to carry through again, in some of the most subtly gorgeous work of the album. Lyrically, the track feels a little void at times, as though there’s emotion within them that aren’t really able to be expressed through the straight-forward and on the nose lines. Definitely not one of Shawn’s strongest lyrical offerings, but there’s no stand out point that drags it down, rather just unfortunately feels somewhat monotonous throughout.

 

Get Out Of Your Way has all the makings of a track cut from the leaf of TRNT and his Euphoria series, in it’s very reflective and incessantly positive message. However, where TRNT has an entire world of his creation at his feet to bounce off, Shawn does not and in some ways struggles to make up for it. Not to say that these kinds of messages require that level of world building, but that aspect that took those Euphoria tracks from a basic ballad of dreaming into a more intricate and unique offering is lost here with little depth in these lyrics to replace it. Clearly intended to be a lyrically centred song, the output of some rather shallow ideas of believing in yourself doesn’t drive itself home as well as many other of Shawn’s releases can with similar ideas. Song For Someone begins to bring the album back up to a higher note, with some particularly engaging production and lyrics that appear to have more depth to them as well as more of Shawn’s flawless melodies that can be found throughout the album. This track definitely packs more of a punch than the previous track, and feels like a second high for the album following The Last Train.

 

You’re The Best Thing About Me is a solid song lyrically, although some moments can feel a little cliche. However for once the production of the song almost lets it down in the early half where the production sounds almost as if it’s from a commercial jingle which isn’t helped by those more cliche moments in the lyrics. The switch up nearer the final third of the song definitely helps to redeem it but overall it’s not the best offering from the album. If Today Was Your Last Day is a much more consistent song, which feels like a more polished version of what Get Out Of Your Way was intended to be. Although not without faults, this song feels more lyrically in depth and has more character to it, and it’s sonically decent as well. Rounding out with So Glad We Made It, the closing track feels like an anthemic ending to the project as a whole and picks up in both production and lyricism from the previous few tracks. Despite one or two awkward lyrics, in general the ending feels earned and brings the album to a very natural conclusion.

 

The Key To Life On Earth is certainly an interesting addition to Shawn’s catalogue, and seemingly marks a full transition into a more pop oriented sound that fits him naturally at this point in his career. The sentiment behind the album shines through, however the execution doesn’t always land as intended. While the production is perhaps the strongest of his career, the lyricism of the album can often feel much more generic and lifeless than much of the more impactful writing on his other projects, especially more recent releases such as Shawn Mendes and even The Miami Experiment. It’s a balance that is nailed on songs such as The Last Train Out Of Paris and Song For Someone, which are standout tracks in his discography, but some other songs don’t quite reach the same heights. Still, the album has promising implications for Shawn going forward as he moves into what seems to be a new direction for him. As for The Key To Life On Earth, it captures a precious moment in time not only in Shawn’s career but also his life as he moves forward in both.

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REVIEW #2: 65/100

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Shawn Mendes has been a constantly present, if at times frustrating, artist in the music industry. For better or worse his output has been regular, and even when projects have missed the mark when it comes to quality, nobody can deny his hard work and his relentless effort to rightfully earn him a spot as one of the most successful artists around.  

 

The Key To Life On Earth has been defined as his most different and out there project to date. While there is some truth to this when it comes to sonic decisions made regarding the production, and it’s refreshing to hear Shawn make some changes, it still feels somewhat “safe” for an artist like Shawn, and “daring” feels like a bit of an oversell.  

 

The theme of exploring love is admirable while not yet exactly original. Choosing to tackle love in its different forms on different tracks is something that has been done on recent blockbuster albums like Amor and To Have Never Loved At All, and even further back on I Believe In Love - that’s quite a significant group of albums to be up against. And there is a sense, whilst listening through, that these ideas have been explored more successfully throughout.  

 

Of course, love is an expansive and thorough idea that has always - and will always - be worth tackling in art. So it’s not like the album is entirely redundant. And there are things worth celebrating here. Shawns songwriting does continue to get better then previous output in some areas, with particular highlights including Wildflower and Talk. There is a tight consistency throughout the album that makes it feels like an entire body of work, which is commendable.   

 

Overall, the album doesn’t feel like as much of a stride forward as it probably should. It feels like we are still waiting for Shawn to break out of particular habits in terms of his songwriting style - these habits that are preventing his songs from coming across too often like cliches. There’s a sense of this album feeling like more of the same, despite a promise of it being bold and daring output. Fleeting moments of decent lyricism aren’t altogether enough to save this album from adding up to anything truly substantial.

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SCORE #3: 50/100

Shawn Mendes's latest studio album is, like many albums in the last few years, an exploration of love in various forms. Unfortunately, The Key To Life On Earth adds nothing new to this wave of albums about love, and doesn't have the heft to stand on its own. Sonically it feels years late on the synth wave trend that dominated 2019 and early 2020, and lyrically it leaves much to be desired. The Key To Life On Earth unfortunately ends up being Shawn's weakest effort to date, with none of the unique sound that his previous works offered, and none of the heavy hitting lyricism or melodic work that is a hallmark of other albums in this same thematic vein.

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SCORE #4: 78/100

Shawn Mendes latest effort is definitely one more album in a long line of improvement since his debut. The writing on the record feels stronger and more well put together and, while the venture into a new sound is to be appreciated, the choice of production is rather safe and overdone in the industry at this point. However, the album does not need to reinvent the wheel to be fun and a welcomed moment in Mendes career.

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