Nate Ruess Holds Nothing Back On ‘Grand Romantic’

Stephanie Hernandez

Singer/songwriter Nate Ruess got his first taste of commercial stardom with the release of “Some Nights,” Fun’s 2012 sophomore record. Spawning multiple radio hits, millions of downloads and a dedicated worldwide following it seemed an odd time to leave the group and go solo, but that’s exactly what Ruess did. Not to worry the trio says they are merely on a hiatus until they are inspired to come together again and in the meantime, fans will simply have to devour Ruess first release as a solo artist, “Grand Romantic.” An unexpected delight for anyone who likes a little substance to his or her radio jams. It is one summer record sure to please just about anyone in your car.

What began as songs penned by Ruess for Fun’s catalog has turned into his first lone venture. The twelve-song album is full of the big boisterous vocals that first caught listeners’ attention back in 2012 but with more personal and intimate subject matter on the bill. With every track Ruess dives deeper into his own missteps, mistakes and insecurities about love, something that is easier said than done effectively when in a group. The decision to go solo with these particular tracks shows Ruess’ commitment to keeping these lyrics and the sentiment behind them as close to home and unmuddled as possible. “Grand Romantic” becomes an album about one person’s emotions, instead of a blurred line of shared experience. The record is filled with passionate and anthemic tracks that could only be delivered honestly by Nate himself. His charismatic delivery charms the listener into investing in his pursuit of happiness while still being able to keep the tracks feeling light, not bogged down with too much emotional distress. Ruess’ ability to communicate deep emotion with little more than a sustained note is part of what makes his work so relatable and uncontrived in sound, a skill rarely found nowadays.

What “Grand Romantic” does well is blend deeply personal messages with grandiose delivery. Though lyrically hyper-personal, Nate’s choice to keep his signature extroverted performance style intact has allowed him to create tracks that read almost as dramatically as entertaining Broadway solos. An odd pairing, when most listeners are used to hearing self deprecating lyrics paired with the heavy handed use of low strings and barely there piano, thankfully not the case here. This is evident throughout the album, beginning with “Nothing Without Love,” an ode to the classic Fun sound, it definitely makes you want to lift your glass and sing along. Swelling with choral backing and triumphant instrumentation, it would not be surprising to see this track end up on many a wedding day playlist. The record flows right in the building excitement contained in “Take It Back.” Slower to start, the snap inducing ballad introduces an 80’s style rock riff at the chorus, electric guitars placed over the sweetly symphonic strings and atmospheric keys giving the track a more classic rock feel, never allowing the song to get too soft. Ruess bends genres on “What This World Is Coming To,” a mix of country, pop and rock, the track is one of the most layered and balanced on the record. With stomping drums and harmonized vocals, the line “so let’s get high in the moonlight” instantly sounds appealing, especially when it’s sung almost a capella over a lightly strummed acoustic guitar. The fun gets a little more serious on “Moment” the mid album breather, Ruess explores what saying goodbye means and the internal battle that follows his decision to leave his love behind, “I don’t want to let it go just to watch it fly.” His fear that letting go will result in his partner’s happiness with someone else, delves openly into Ruess insecurities of not being enough, a hard pill to swallow but an amazing one to share with the world so candidly.

The album’s title track “Grand Romantic” helps round out the track listing. His pining vocals hit you hard when he repeats, “You know I want you so bad” repeatedly, each time digging a little deeper into your own feelings of desire. The marching “Harsh Light” follows, and again we find traces of Fun rearing their heads. With uplifting brass and a swaying refrain, Ruess sings out “we’ve all got scars” not to remember the broken parts of himself but to proclaim that everyone, including himself has experienced pain and survived. “Grand Romantic” ends with “Brightside,” a slow ballad drenched with beautiful chorale backing and light airy keys. This pop lullaby acts as a guiding hand out of the record, a light finish reminiscent of a gentle wave goodbye.

Nate Ruess truly immersed himself in this passion project. From the sincerity of the lyrics to the layered and diverse use of instrumentation, Ruess has shown he has the capability to orchestrate a successful soundtrack all on his own. “Grand Romantic” is compelling not because Ruess hits the high notes, though he does (and with conviction), but because of the open and fully conceived nature of the tracks. You get a full range of what Nate can do from Queen style sing-alongs to delicate ballads, yet each is delivered with the same level of honesty. An album about struggle loss and redemption, “Grand Romantic” has cemented Nate Ruess’ position as unique singer/songwriter.

“Grand Romantic” is available on iTunes June 16.