More of the Pleasant, Nostalgic Same

Despite press blurbs claiming The Shootouts are “the country band for people who doesn’t like country,” the actual product provides little in the way of innovation or outreach for people not invested into their heavily nostalgic sound. They pull from honky-tonk and Western Swing for propulsive, instrumentally dense sing-alongs, alongside more traditional acoustic balladry. Stampede is their most electric album to date, with a litany of accomplished guest stars. The result is another enjoyable record held back from true quality by weak songwriting and vocals exacerbated by the guest performers.

The first half provides classic thumping Western swing, with energetic mandolin and fiddle solos on “Better Things to Do” and “One Step Forward,” as well as more recent sounds like the Old 97s-esque jangles on “Anywhere but Here.” At the midpoint, the album reaches a fever pitch with the title track providing the liveliest, most unyielding music so far. Following this assault, the second half slows down with the dippy-do melody of “Feelin’ Kind of Lonely Tonight” and the somber acoustics of “Angel’s Work.” Even if it would’ve been nice for a seedier cut with a reverb twang like “Rattlesnake Whiskey” from the last record, the production gives every note element a crisp warmth that makes every pluck of pedal steel and guitar pop.

Guest stars run the risk of the overshadowing rather than supporting. Ray Benson of Asleep at the Wheel, who also served as a producer, possesses a commanding bass that contrasts with frontman Ryan Humbert’s higher pitch on “One Step Forward.” Raul Malo of The Mavericks brings desperation with his wailing on “I’ll Never Need Anyone More” that matches the song’s earnest clinginess. Buddy Miller similarly rides the swell of backing coos on “Anywhere but Here” with thoughtful wonder. It’s not as if Ryan gets overpowered or shoved to the side on any of these tracks, but each of these guests bring just a little more than he can. He previously brought a shade more grit, but now he leans into nasal youthfulness for better or for worse.

The lyrical highlights of Bullseye included the criminal dealings of “Rattlesnake Whiskey” and the grief-filled “Another Mother.” Nothing on Stampede stands out like these, and while downtrodden reflections on broken hearted misery are a familiar fit for this style, that mood gets increasingly thin with Humbert singing over it. “Better Things to Do” already cribs a lot from the opener of their last record, “I Don’t Think About You Anymore,” in trying to draw a line in the sand and failing because of the lack of edge or power in his delivery. “Run For Cover” goes for a brassy, stop-and start-stomp that does not fit with the cruel maneater painted by the writing. The lyrics are obviously not the draw with The Shootouts, but they could do us a service by ditching the sourness and trying for wit or charm. “One Step Forward” is the most light-hearted and self-aware song about dismal luck in love, which makes it a lot more likeable and works better with Ryan and the music.

In the big picture, these are minor nitpicks for serviceable comfort food. There’s a formula that works, melodies that are fun and guest stars that do their job. It may not change anyone’s mind on the band or country music, but that’s okay.