Justin Timberlake | Man of the Woods

Thankfully, it’s not a country album, but it’s not that good, either

For those unconvinced that Justin Timberlake was a major talent, the release of his new album, Man of the Woods, has been an opportunity to pile on. Pitchfork, in a review with a failing 3.8 grade, called it “indulgent and vacuous.” And Stereogum dismissed it as a “supremely satisfied album, and it’s hard to get excited about that.” I may not share these publications’ glee in knocking JT down a few pegs, but I do agree that this is not his best work. It may be a cliché that happy artists make bad art, but you’ll have to look elsewhere for exceptions. The deeply committed husband and recent father makes clear on many of the album’s 16 tracks that he’d really rather be with his family (in, say, “Montana” or “Livin’ Off the Land,” just two of the content-with-life songs) than in a recording studio.

Thankfully, Man of the Woods doesn’t deliver on the pre-release hype that this was Timberlake’s version of a country record; despite the appearance of Chris Stapleton (a burgeoning major talent in his own right), it’s still solidly a pop album. For such a risky (and possibly laughable) concept, however, Man of the Woods ultimately suffers from the risks it fails to take. Only a couple of tracks stray from Pharrell Williams’ safe production: the Stapleton-assisted first single, “Say Something,” and “Livin’ Off the Land,” which plays with a choppy percussive sample reminiscent of Run The Jewels’ “Call Ticketron.” But that’s where any comparison ends, as RTJ are artists that push the envelope with every release. This album, in gambler’s parlance, is simply a push. C-

Best songs: “Say Something (ft. Chris Stapleton)” | “Midnight Summer Jam”
Worst songs: “Supplies” | “Flannel”