{"id":365322,"date":"2026-03-03T08:51:07","date_gmt":"2026-03-03T08:51:07","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/365322\/"},"modified":"2026-03-03T08:51:07","modified_gmt":"2026-03-03T08:51:07","slug":"bruno-mars-the-romantic-album-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/365322\/","title":{"rendered":"Bruno Mars: The Romantic Album Review"},"content":{"rendered":"

If imitation is the sincerest form of flattery, Bruno Mars<\/a>\u2019 heroes are drowning in compliments. The pop juggernaut has always been a master impersonator, from his childhood gig performing as Elvis around Hawaii to the soul and funk pastiche of his 2010 debut Doo-Wops & Hooligans, to his collaborative album<\/a> with Anderson .Paak<\/a> that celebrated the seductive irreverence of \u201860s and \u201870s R&B hits. Most of the time, Mars\u2019 reproductions work well for him: He\u2019s one of music\u2019s most absurdly decorated artists, with 16 Grammy Awards, 10 No. 1 singles, and more monthly Spotify listeners than Bad Bunny, Taylor Swift, or the Weeknd. \u201cUptown Funk,\u201d his incomprehensibly huge song with Mark Ronson, quickly dethroned \u201cBlurred Lines\u201d as the de facto selection on corporate party playlists, sure to get your boss loosening his tie just a bit. But on The Romantic, Mars\u2019 first solo album since 2016\u2019s funk pastiche 24K Magic<\/a>, his genre parroting comes off more as wedding reception slop than an exciting comeback.<\/p>\n

From the first single \u201cI Just Might<\/a>,\u201d a pleading request that his lover be able to move on the dancefloor at his level, it\u2019s clear that Mars is inviting more comparisons to groovier hits of yesteryear than usual. It reminded me of both Junior Senior\u2019s \u201cMove Your Feet\u201d<\/a> and Leo Sayer\u2019s \u201cYou Make Me Feel Like Dancing<\/a>,\u201d hitting the same melodies or gang vocal inflections. As the album progresses, it sounds like he shoved some dollars into a dive bar jukebox: momentary references to Tito Puente, Curtis Mayfield, and the proto-disco pop hits of late-era Motown fill it with an uncanny familiarity. It\u2019s hard not to want to Shazam each song, confusing it for something older or even another Bruno Mars cut: break-up ballad \u201cNothing Left\u201d feels eerily similar to \u201cWhen I Was Your Man.\u201d<\/p>\n

No score yet, be the first to add.<\/p>\n

At least Mars\u2019 flair for Latin pop pushes the music forward. He fronts his own Mexican bolero on opener \u201cRisk It All,\u201d and \u201cCha Cha Cha\u201d naturally pulls from the Cuban dance style of the same name (along with a surprisingly playful interpolation of Juvenile\u2019s \u201cSlow Motion\u201d on the chorus). Conga drummer Daniel Rodriguez elevates these moments; when The Romantic peaks, it slides into a bossa nova-lite rhythm.<\/p>\n

The production is squeaky clean and sleek as usual. Mars co-produced and co-wrote every song with some of his frequent collaborators: D\u2019Mile, who worked on Silk Sonic, and James Fauntleroy, who contributed to 24 Magic. The benefit of every Mars album is that it goes down smooth; it\u2019s algorithm-friendly, easy listening that neither overstays its welcome nor feels like a burden when it pops up on every pre-made Spotify playlist. Mars\u2019 voice also remains pitch-perfect. He is still a charismatic performer and a naturally talented singer with a tone that can switch quickly from crystalline delivery to a rum-soaked rasp in his upper belt. When he channels the latter, The Romantic reaches its better moments, like on the sultry yearnings of \u201cWhy You Wanna Fight?\u201d and \u201cOn My Soul.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"If imitation is the sincerest form of flattery, Bruno Mars\u2019 heroes are drowning in compliments. The pop juggernaut…\n","protected":false},"author":2,"featured_media":365323,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[264],"tags":[12327,18,117,19,17,337,806],"class_list":{"0":"post-365322","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-albums","9":"tag-eire","10":"tag-entertainment","11":"tag-ie","12":"tag-ireland","13":"tag-music","14":"tag-web"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ie\/116164394265170806","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/365322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=365322"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/365322\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/365323"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=365322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=365322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=365322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}