It seems strange that critics have chosen their fifth album to cast doubt on The Hold Steady. Several reviews have pointed to the shift from first person to third person narration as one of the key reasons why Heaven Is Whenever doesn't stand up to their past glories. To me, that seems like a completely misguided line of argument; songs so obviously rooted in youthful adventure and misadventure can only be sung convincingly for so long by someone approaching their forties. That Craig Finn has decided to take a step back from the action is reasonable; previously, he's exhibited such a yearning for the past you would think he were a First World War soldier afflicted with nostalgia. Now, he acts mostly as narrator rather than reveller, and if Heaven Is Whenever doesn't quite offer up the dramatic musical shift the band themselves had suggested they would deliver, there is an important shift in perspective.
This intent is signalled right from the off, as "The Sweet Part of the City" ostensibly tells the story of how The Hold Steady came to be, with Finn revealing at the end that "we were bored so we started a band," breaking the third wall and setting the tone for an album that sees Finn playing the elder statesman he's so often tagged as; on second track "Soft in the Center" he's counselling someone as to the perils of love, declaring that "you can't get every girl" whilst insisting that "you gotta trust me on this one," all the while sounding like a man who has the necessary experience to sing it with conviction. Similarly, "Hurricane J" sees Finn reaching out to another, telling her "you know I'd never ask you to change/I'll only ask you to try." Yet the sense of futility is obvious; he knows that his words alone won't be enough to save her from mixing with the lowlifes and the hoodrats that so often populate his songs. Meanwhile, "The Weekenders" is a sequel to "Chips Ahoy," and another example of The Hold Steady's tendency to reference past songs and stories, a wonderful touch that adds a sense of continuity to their oeuvre, as well as a tacit acknowledgment that the past doesn't always hold up all that well on reflection.
Elsewhere, the balance between out-and-out rockers and torch song balladry is perfect, with the band often alternating between the two; "Rock Problems" immediately comes across as a live favourite in waiting; "We Can Get Together" is an ode to the joy of listening to music, referencing Pavement and Husker Du amongst others, and Finn delivers the lines that give the song and the album its title, as well a message that proves surprisingly affecting after a few listens: "Heaven is whenever we can get together/Sit down on your floor and listen to your records." Then, the aforementioned "Hurricane J" kicks in; it's my choice for the standout track of the record, a barnstorming tune filled with some absolutely wonderful lyrics, showing both insight and Finn's frequently brilliant turns of phrase, with "you're a beautiful girl/and you're a pretty good waitress" the undoubted highlight.
Over the course of ten songs, the only misfire is "The Smidge," a rather pedestrian effort that fails to leave any lasting impression. That's an impressive strike rate for an album that feels concise in the best possible way, and closing song "A Slight Discomfort" is a wonderful end to proceedings. Clocking in at over seven minutes, it's their longest track to date, as well as an affirmation of everything that preceded it; not just over the course of the album, but from Almost Killed Me to Heaven Is Whenever. Far from being a dip in quality, this record manages to enhance everything that came before it, and stands as proof that this is a band still capable of evolving.
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