Just when you thought that Chris Daughtry had disappeared from the music scene completely, he’s decided to reinsert himself in not-so-spectacular fashion. Attempting to justify the fame that accompanies a stint on reality TV is a predicament unique to the modern age. Indeed, for many of the contestants from the various talent shows that have become so integral to the American television experience, this is an insurmountable challenge. So, it’s no surprise that “American Idol” (2002-present) fifth season finalist Chris Daughtry has struggled to reach mainstream audiences ever since the initial excitement surrounding his music began to wane. Known for his hard rock persona — of course, only on “American Idol” is Chris Daughtry considered hard rock — Daughtry’s band, ingeniously called Daughtry, released their similarly self-titled debut in 2006. Since then, the band has been relegated to universal scorn, second only to Nickelback and Dane Cook.
“Baptized,” the group’s fourth studio album and most recent release, sounds like pure desperation — reminiscent of the wails of a neglected child in the aisles of a Costco. Each track is loud and explosive, with Daughtry producing his trademark gruff growls, singing senseless lyrics with hackneyed musical progressions. This record is nothing more or less than a hopeless plea for another shot at the quasi-fame and fortune that Daughtry was propelled to after his 15 minutes of reality talent show exposure.
Musical quality aside, there are also many offensive aspects of “Baptized” — a major one being that the band shamelessly borrows innovative sounds that other musicians have been creating for years. Many of the tracks on the album are incredibly similar to songs by Taylor Swift, Lady Antebellum and even Bruno Mars. In particular, the boring and trite singles “Waiting for Superman” and “Baptized,” are strikingly reminiscent of songs off Swift’s 2012 release “Red.” Both songs attempt to incorporate dub-step electronic undertones and shiny guitar riffs — techniques that were so successful on “Red” because, when Swift’s album was released, they were still unique.
What’s more, the album is littered with heavy-handed Biblical references. Now, there’s certainly nothing wrong with Biblical imagery in modern music. In fact, Lady Gaga and Katy Perry, among others, have incorporated religious elements into their music in tasteful and thought-provoking ways. However, Daughtry’s utilization of Christian symbols feels especially tactless simply because nothing on this album is sincere. The group is so eager to capitalize on the same methods that catapulted bands like Mumford & Sons and Train into the spotlight — they want to produce music with a message. Unfortunately for Daughtry, in order for this to work, the music has to be good.
Clearly anxious to relive their 2006 fame, “Baptized” is the band’s pitiable attempt to hit every base of popular rock music and prove that they’ve still got it. The album has a feel-good anthem in “Long Live Rock & Roll,” a more sentimental ballad in “High Above the Ground” and even a head-banging number about revenge at the end of an embittered relationship in “Traitor.” It is truly shocking how formulaic Daughtry is committed to being. If they were brave enough to reach out of their prescribed role, the group’s music could potentially be interesting. Indeed, this overwhelming flop is not merely the inevitable result of the band’s semi-charmed origins — artists like Kelly Clarkson and Carrie Underwood have demonstrated the kind of success that can come from the “Idol” namesake.
In the end, bands like Daughtry and Nickelback are not bad because they’re uncool or outdated; it’s not even that they’re bad musicians. Where they seem to fail, time and again, is in the execution of their own music. These groups continue to produce embarrassing and heavy-handed tracks that are tired, grating and devoid of any semblance of originality. To say that it is difficult to listen to “Baptized” in its entirety is an understatement. However, a hate-listen just might hurt so good.
