WHERE SHOULD you start your summer—at Montana or the Waffle House?

The Jonas Brothers have made a splash with The Album (2023), the follow-up to their comeback record, Happiness Begins (2019). The LP is filled with beachy tunes and tidal waves, very similar to the energy exuded by the previous album. In interviews, Nick, Joe, and Kevin Jonas have also expressed their love for funk and 70s music—notably, the Bee Gees—which served as a sonic influence for the album.

Overall, it’s a very happy album—a love letter to the people they hold dear. It shows that the boys are settled in their lives and music at the moment, but I fear it’s because of that satisfaction that the album lacks some oomph.

The Album begins with the piano staccato of “Miracle” as the boys give a shoutout to their hometown by singing out: “Jersey!” The track is one of the catchier numbers of the record, as the variety of strings and blend of their voices kicks off the 12-song tracklist. Similar to the opening track, “Montana Sky,” “Vacation Eyes,” and “Sail Away” croon to the same theme, with messages about yearning to be with your loved one all the time.

However, only two songs on the record stand out—both of which were previewed to the public before The Album was fully released. One of these is the album’s closer, “Walls (with Jon Bellion),” which was performed live on Saturday Night Live and featured a soulful gospel choir. Nick and Joe’s falsettos shine in the song, essentially showcasing their matured vocal range and capacity. As one of the more downbeat tracks, it feels like a more mature and grown-up version of “When You Look Me in the Eyes” from their eponymous 2007 album.

The second stand out song is the fiery lead single that got everyone hooked: “Wings.” The boys sing: “You are the one, the sun, the light of day / You are the wings I need to fly away.” Although it is the shortest track at a minute and 58 seconds, it oozes with the groove and glee to get you on your feet and dancing (just like Haley Lu Richardson did in that joyride of a music video).

Unfortunately, the pizazz of the album’s lead single does not sustain itself throughout its entirety.

Despite the fresh funk sound, there’s not much going for The Album in a lyrical or thematic sense. Yes, it’s a love letter to their wives and families, but because of that, the record seems to fall flat and one-dimensional.

Sure, party-worthy tracks with the likes of “Waffle House,” “Summer in the Hamptons,” and “Celebrate!” are upbeat and fun, but they aren’t really earworms. There’s not much symbolic variety to the album—it’s simply good and safe fun.

Besides the lead singles, none of the other tracks seem to strike a chord or even make you beg for more. However, that’s not to disregard that the 33-minute album is still a completely decent piece of work.

In the end, The Album is definitely a good time, but not for a long time. Though short and sweet, the overall sonic experience isn’t bad at all. The Jonas Brothers exploring the funk genre is an appreciated feat. As such, it shows that they had the potential to do even more with this album—but perhaps that’s another album for another day.

With that, future records of theirs can definitely be spruced up a little more; the vocal and instrumental production shows that they have the capacity for it. The album is good—the Jonas Brothers have certainly grown as artists, but they haven’t broken the ceiling just yet.

The verdict stands—it just feels like an album, not the album.