Album Review: Rome 56 – Paradise is Free

Heartland twang, creamy vocal harmonies, shimmering powerpop jangle and Byrdsy/Petty-ish Southern lilt: all of those winning qualities make themselves known with the first minute of “The Man Behind the Man With the Gun,” the opening cut on Paradise is Free from Rome 56. If the Paisley Underground musical movement had taken root in 2024 instead of the 1980s, it might’ve sounded like this. Hints of Long Ryders and Old 97s are there, but (for the first few tracks, anyway) Rome 56 doesn’t lean so heavily into the twang as to deter listeners (like myself) who prefer a limited drawl to their music.

“Hustle of the Crowd” mines similar territory; it’s an understated piece that suggests what Tom Petty might have sounded like if is backing band featured Sid Griffin and Tom Stevens instead of Mike Campbell and his pals. “Fire in the Sky” mixes up the rhythm, adding texture and breadth to the group’s character. “Seattle” applies a country blues character to a T.Rex-y melody, but the bridge opens things up a bit. “At the End of the Street” has a sonorous, cavernous guitar sound and a more traditional forlorn c&w character with a vocal that hints at Nashville Skyline-era Dylan.

“Paradise is Free” might be the title track, but it feels flown in from a different session. A clattering rhythm makes the tune hard to pin down stylistically. “Invisible Man” is a breezy country rocker with some fetching backing vocals. The spare “A Simple Way to Go” is a nice enough tune that could benefit from a stronger hook; the Tex-Mex combo organ flourishes are tasty, though.

That organ bit aside, there’s not a lot of prominent keyboard work on Paradise is Free. But “Some Say” makes up for that: this piano ballad with strings is a pretty, plaintive tune. “The Midnight Sun” combines drum machine percussion with pedal steel; the juxtaposition is interesting, at least, if overall a bit too twang-heavy for this listener. Far better is “Dry Ice,” with an appealing arrangement, earnest vocals and some shimmering guitar. But the energy flags for the closer, the lachrymose “Give Myself Up to You.” It might vaguely remind some listeners of Dylan’s “Knockin’ on Heaven’s Door.”

Country-oriented listeners might or might not appreciate the rock-leaning numbers; rockers might be put off by the c&w character. But those who find their sweet spot in the space between those poles should definitely give Rome 56’s latest a spin.