The Pretenders - Break Up The Concrete reviews
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| Allmusic |
 Break Up the Concrete is the first Pretenders album since 1990s Packed! where Chrissie Hynde wrote almost every song on the album on her own, but unlike the generally listless Packed!, Break Up the Concrete is an effective rebirth for Hynde, a reconnection to her roots undoubtedly effected by her return to her native Ohio. This may be a stripped-down record carrying echoes of the Pretenders past, but this is hardly a conscious re-creation of the group's first two records, as it lacks any of the stylish guitar colorings of James Honeyman-Scott, and the group's early hard rock swagger has been swapped out for a frenetic rockabilly bop, as infectious on the barrel-headed boogie "Don't Cut Your Hair" and Bo Diddley romp of the title track as it is on the ingenious Dylan send-up "Boots of Chinese Plastic." Hynde's revived rockabilly roll finds a comfortable pairing in the easy county-rock vibe of her ballads, of which there are far more of than there are rockers here. This emphasis on rockabilly and country-rock gives Break Up the Concrete a bit of an Americana feel -- something enhanced by the gently murmuring accordion on "You Didn't Have To," which otherwise is a cousin to the sighing pop of "Kid" -- but this doesn't necessarily feel like a departure for Hynde: it just feels like a lively, deeply felt Pretenders album, one that has better songs and better performances than usual....full text |
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| Pastemagazine |
| The fact that this country-influenced album from Chrissie Hynde and her new backing band was recorded in just 10 days might lead you to think Break Up The Concrete was a rush job. (Consider this lyric from “Love’s a Mystery”: “You get the feeling you’re onstage and badly unrehearsed.”) It’s true that the record is peppered with small flaws, like a cleared throat, or the drummer’s messed-up count-off or someone self-admonishing, “O.K., I’m gettin’ worse and worse now.” But these imperfections are endearing, adding extra texture to this set of rollicking roots rock and mournful pedal-steel ballads. Hynde’s voice is as recognizable as ever—all slow vibrato, unrestrained high notes and staccato alto. But the songs won’t be seamless additions to any Pretenders best-of album; they have a twangier feel. “Almost Perfect” is minor-key sexy with a creaky sound like an old metal swing that makes the song seem like a precursor to haunting U.K. band Bat For Lashes. The title track makes creative use of the Bo Diddley beat and impresses with its percussive “thwack it, crack it” lyrics. Staunch admirers of the traditional Pretenders sound might not like this record, but I say, “Yee-haw!” ...full text |
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| Billboard |
| In the Pretenders' 30-year history, frontwoman Chrissie Hynde has been the only constant member, and the four other musicians on the band's ninth studio album haven't appeared on any of the previous eight. But while a tumultuous personnel record can threaten a band's momentum and consistency, it seems in this case to serve Hynde's creativity well. The blues- and country-influenced songs on "Break Up the Concrete" are an engaging departure from the group's earlier hits, while Hynde's dynamic alto voice gives the set the unmistakable Pretenders identity. Minor chords and vocal reverb make "Almost Perfect" both haunting and pleasingly poppy, while the energetic title track is a honky-tonk work song with a punchy Bo Diddley beat. And with ballads like closer "One Thing Never Changed," Hynde proves she can turn from rocker to crooner on a dime.—Evie Nagy...full text |
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