When the slightest whiff of conflict arises on =, it’s quickly brushed away by the reassurance that this too shall pass.
“Overpass Graffiti” is one of the album’s strongest songs but Sheeran sabotages himself with lyrics that seem destined for an Instagram stock photo: “We’ll never fade like graffiti on the overpass.” (Ever heard of a pressure washer?) Like “Tides” before it, “Love in Slow Motion” takes the physics of its title literally and tries to freeze a vision of candlelit romance into amber. And = offers plenty of songs that will make someone out there say “aw” while waiting to fill their prescription at a pharmacy.
He’s settled into the comfort zone of songs that will haunt weddings for years to come, like “2step,” in which he raps about “Two-steppin’ with the woman I love.” Even at his most passionate, Sheeran sounds as threatening as a meringue peak.īut then again, who is listening to Ed Sheeran hoping for a little jolt of danger? = doesn’t venture very far beyond the idea that true love can ride out any storm, that a loving embrace can stop time, that happiness can be restored with a single kiss. On =, there’s a silver lining to every relationship gone sour, and every photo is developed in sepia. Once in a while he would attempt to poke a hole in this nice guy image by swiping his claws at a wanton ex, her swole new boyfriend, or the music industry. Over the first decade-or-so of his career, Sheeran has gamely played the part of pop’s biggest dweeb, a self-proclaimed underdog who appealed to moms and teenage girls alike. It’s the same deal with “Shivers,” an unfortunately catchy song about dancing “’til the sunlight cracks” and not much more. But despite Sheeran’s fangs, “Bad Habits” has zero bite. As suggested by an ominous synth line and a vampiric music video, the whole thing is meant to be a little spooky, a little edgy. Lead single “ Bad Habits” is a Bronski Beat ripoff that’s all late nights, neon lights, and empty conversations. Two years after he dabbled in dancehall with Justin Bieber and rapped alongside Eminem and 50 Cent, Sheeran has decided to rush the charts on his own once more, without any guests. Throughout most of =, Sheeran’s trusty acoustic guitar is gathering dust somewhere, abandoned in favor of the flashy 1980s pop and R&B-lite that is currently dominated by the Weeknd. So who is this different-but-not-really version of Sheeran, other than unwaveringly heavy-handed? For starters, he’s fully embraced the synths that he’s been flirting with since the start of his career.
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