Daughtry: Cage To Rattle (2018) Review

Cage To Rattle marks the end of a five year hiatus for US rockers Daughtry.

After touring the world in support of the underwhelming Baptized – their polarizing fourth record which traded rock for pop – Chris Daughtry explains that the band made a collective decision to spend more time at home with their families.

However, critics suggest that the extended break was more likely influenced by the album’s unexpected commercial failure.

Either way, it’s good to have them back!

“We knew early on that we wanted to bring back heavy guitars on this record. We also thought it’d be interesting to blend some new elements into our sound to show what we’re all currently listening to. I think we’ve succeeded because this LP has a groove we’ve never been able to achieve before, and I’m sure our fans will enjoy hearing it!”

– Chris Daughtry

“We knew early on that we wanted to bring back heavy guitars on this record.

We also thought it’d be interesting to blend some new elements into our sound to show what we’re all currently listening to.

I think we’ve succeeded because this LP has a groove we’ve never been able to achieve before, and I’m sure our fans will enjoy hearing it!”

– Chris Daughtry

That’s where the good news ends, unfortunately.

Because despite promises of “bringing back heavy guitars”, Cage To Rattle does no such thing.

Long-time fans who were perhaps hoping for a return to the chunky post-grunge of their debut will be bitterly disappointed to hear this, as will those who enjoyed the Bon Jovi-esque choruses which featured heavily on superb third LP Break The Spell.

So it’s with a heavy heart that we must be the bearers of bad news and inform you that, just like last time, Daughtry’s trademark crunch has been expunged from the mix in favour of extensive layers of unnecessary studio polish.

That’s not to say Cage To Rattle is all bad, of course.

The lyrical content of this album feels infinitely more mature than the cheesy, boyband-ish moments which dogged the last record, which is definitely a good thing.

Also, new member Elvio Fernandes – the band’s first ever keyboard player – should be given a congratulatory pat on the back for a job well done. His haunting synths successfuly add a new layer to Daughtry’s sound, framing each track with atmospheric landscapes which really add to their sense of grandness.

However, when all is said and done, this is still just a modern pop record.

In a surprising move, Grammy-nominated producer Jacquire King was drafted in to helm the project.

King’s well-known for helping genre-specific groups make the difficult jump to mainstream pop stick (James Bay, Kings Of Leon, Shania Twain).

This appears to be a very smart appointment because, despite the negative feedback and lengthy hiatus caused by their previous record, it seems that Daughtry are still hell-bent on making the switch from rock to pop.

Why?

Who knows!

But to their credit there’s a handful of moments scattered thoughout Cage To Rattle which suggest they’re mighty capable.

Standout track Stuff Of Legends is perhaps the best example.

It’s a great piece of work which features a killer beat from new sticksman Brandon Maclin (original drummer Robin Diaz declined to return), coupled with a fuzz-infused riff from axeman Josh Steely and extra helpings of the soaring vocals which helped make Chris Daughtry a household name on American Idol some ten years earlier.

Other highlights include the retro groove of Back In Time, and the skyscraper chorus of Bad Habits.

While neither of these tracks will likely trouble their best work, they still have enough heft to suggest that Daughtry might be onto something in their quest to push their sound into previously unexplored realms.

"Another day,
Another battle,
We all have a cage to rattle,
This just might be the death of me."

CAGE TO RATTLE

Interestingly, the album is at it’s worst when the band slow things down.

I know… I know…

This is in stark contrast to previous records, right?

For the talents of singer/songwriter Chris Daughtry would typically shine when armed with nothing more than an acoustic guitar and a broken heart.

However, the unnecessary sheen and lack of crunch here means that numbers like Just Found Heaven and As You Are struggle to gain any real foothold, before fizzling out into nothingness.

Indeed, it’s only when Daughtry flirt with the idea of picking their guitars up again on Gravity and thrilling album closer White Flag that they really catch fire. Perhaps it speaks volumes that even the best material of Cage To Rattle is put in the shade with a simple power chord.

"With one hand we're reaching for the sky,
And one hand we're holding on for life."

WHITE FLAG

The overriding feeling from Cage To Rattle is not disappointment, but rather resentment.

The commercial struggles of both this record and it’s predecessor indicates that Daughtry’s stubborn pursuit of the affections of an indifferent pop audience, without concern for losing their current fanbase, has ultimately failed.

Worse still, the fact that they promised their listeners a rock album only to deliver another pop album only seems to have soured their relationship with their fans even more.

They may be back, but we fear they’ll be gone again soon.