4/10
After running out of mathematical symbols, British singer-songwriter Ed Sheeran has failed to successfully diverge into word-titled albums with Play. The album pairs Sheeran’s signature British vocals with overly synthesized undertones while exploring a genre that is new and distinct from his typical contemplative style. Although some songs’ upbeat nature make up for shallow lyrics, Sheeran ultimately lacks spice in the ironically unplayful album.
Sheeran dives right into his rugged—and depressing—emergence as a young songwriter with “Opening,” where he mixes tones of sorrow with hope. In a sad melodic voice, Sheeran touches on his brother’s death, wife’s medical issues, and Christian upbringing. “I have cried tears at my brother’s grave / I have shaken hands with my wife’s surgeon / I spent weeks inside the darkest cage,” he sings. After the first verse, though, Sheeran jumps straight into a steady, rap-like rhythm that quickens the song’s pace, shifting into a message of hope—an emotional turn that feels jarring rather than profound.
In “Sapphire,” Sheeran embraces Punjabi-style music in a gentle, but dreadful, mix of enthusiastic pop and traditional vibrant Indian beats. Breaks in the pop-dominated song are accompanied by eruptions of vocals from Indian playback singer Arijit Singh, which do nothing but clash with each other. “Don’t you end the party, I could do this all week / We’ll be dancing till the morning, go to bed, we won’t sleep,” Sheeran sings. On top of bleak, meaningless lyrics, “Sapphire” feels heavily synthesized, giving listeners a glimpse into a song made more by computers than Sheeran.
Regrettably, “Symmetry,” “Don’t Look Down,” and “Heaven” continue the processed and synthetic vocals—with Punjabi mixes—that make Play less than stellar. The lyrics lack depth compared to Sheeran’s music in ÷ and ×, exchanging his prominent voice for overwhelming background beats.
Continuing an inauspicious attempt to incorporate foreign words and phrases into the album, Sheeran throws around the Persian word for “my dear” in “Azizam.” Unsurprisingly, the weak, lusty lyrics do little to support the track. The faint santur humming behind it all makes the song feel more like an awkward encounter than the exotic foreign romance Sheeran seemed to attempt to recreate.
Carrying on with chaotic incorporations of rap, “A Little More” diverges from Play’s earlier blue tone, instead juxtaposing themes of betrayal with an upbeat, jazzy cadence. Sheeran’s vocals stand out strongly as he speaks to former friend—now foe—with disdain about the end of their friendship. “One day we’ll all be dead / I hate you a bit more,” he sings.
“Slowly” slowly kills its listeners. Sheeran revisits his classic style involving a guitar base matched with his voice, yet with a mission to burst listeners’ eardrums. Outbursts of high vocals leave listeners unprepared for Sheeran bellowing melodic lyrics into their ears—sometimes with a nod-along beat, but more often with contempt.
“Camera” stands out as one of Sheeran’s more soft-spoken and gentle tracks, reminiscent of his popular vocal-dominated songs of the past. Slow builds lead to dramatic musical flares mixed with sprechstimme singing, and Sheeran guides listeners through the journey with his prominent voice. Simultaneously, soothing singing in the background adds a magical touch.
Similarly, “Old Phone” alludes to nostalgia—both of Sheeran’s youth and the style of music he explored in his past albums. He reflects heavily on past friendships with a consistent beat that exudes his authentic, distinctive voice, something typical Sheeran fans strive to hear. “So full of love, yet so full of hate / I put it back inside there from whence it came / Nothing good will come from regretting,” he sings.
“In Other Words” ironically lacks words. Sheeran’s incessant repetition of the phrase “give me” in every verse doesn’t succeed in expressing romantic longing—it just gets boring. The song explores enamoured themes of care and familiarity, but Sheeran makes the mistake of mentioning “breakfast tea,” immediately breaking the amorous and omniscient mood of the gentle song.
Play fails to recreate the same tender, complex love Sheeran fans usually expect. Instead of building upon themes from his past albums, Sheeran amalgamates unconnected foreign vocals and instruments, and weak lyrics to make Play into something formidable—and unrecognizable—from his folk-pop music.
