Review by Kevin Cooper

To his legion of fans of both a certain age and generation, Michael Ball OBE has become one of the nation’s most endearing and cherished performers who recently released his first solo album in over four years, the aptly entitled Coming Home To You.

This eagerly-awaited release is sure to follow in the footsteps of Balls two previous albums, recorded with fellow singer and long-time friend Alfie Boe; 2016’s Together and 2017’s Together Again.  With them both reaching number one in the album charts, and receiving Classic Brit Awards, they have each sold over a million copies.

Being synonymous with his roles in musical theatre, he has, with this new album, really tried to expand his vocal range to show everyone that he is not just a one trick pony; something which he has managed to do with aplomb.  The title track really does showcase a new sound to Ball’s voice which is part country, part middle of the road, part easy listening pop and it has to be said that it takes the first few tracks on the album to acclimatise the listener albeit slowly and gently into Ball’s new sound.

This is most definitely not an album that has been recorded by some quasi pop, operatic artist; it is far more than that.  Coming Home To You is an album which has been both co-written and recorded by someone who is at the top of their game.  It has to be said that this new style suits Ball, and it sounds as though he has been doing this all of his career.  The songs on Coming Home To You which Ball has written himself sit effortlessly alongside some of the most beautiful and timeless songs from previous decades. 

The opening track on the album, Home To You, is lovely, warm and catchy, and then Ball’s version of the Elvis Presley classic I Just Can’t Help Believing really does make you sit-up and listen to just how well he can sing a ballad that is so full of emotion.  However, the standout track on the album is Blood Red Moon which Ball co-wrote with Ben Earle from The Shires, because there is an underlying sense of warmth together with a heartfelt mood to the song that really does come to the fore.

Ball’s version of the Bee Gee’s To Love Somebody shows his shift in style with the excellent use of a backing choir which simply gives a gorgeous hint of gospel, and his cover of Sir Cliff Richard’s Miss You Nights really hits the spot and illustrates Ball’s impassioned love for music.

Undoubtedly, this latest offering from Ball will become a firm favourite with his army of fans, and may even attract some new ones.  Giving it the attention this album deserves is sure to leave the listener with a smile on their face and their finger on the repeat button.

Our Rating: 5 out of 5 stars (5 / 5)