It may seem unusual to describe Jack White, one of the most influential artists of his generation, as experiencing a career resurgence, yet that is precisely what has been observed recently. After solidifying his status as a key figure in 21st-century rock with the early 2000s blues duo The White Stripes, White’s profile continued to rise throughout the following decade. He enjoyed success with side projects such as The Raconteurs and The Dead Weather, released acclaimed solo albums, and played a pivotal role in the revitalization of vinyl records through his label and pressing facility, Third Man Records.
However, around the mid-2010s, particularly following the release of his third solo project, “Boarding House Reach,” in 2018, it seemed that White’s celebrity had begun to overshadow his musical output. Emerging pop artists like Billie Eilish and Olivia Rodrigo cited him as a major influence. The surge in demand for vinyl records, spurred by these pop sensations releasing multiple limited-edition variants of their albums, resulted in extensive delays for independent musicians. While White was not directly responsible for this situation—and likely found it frustrating—it was a phenomenon he had helped initiate. Concurrently, the unique characteristics and concepts associated with White’s music began to overshadow the immediacy and intensity that had defined his earlier work.
In recent years, White has demonstrated that reputation does not always dictate the quality of music. In 2024, he quietly released his sixth album, “No Name,” which was distributed without much publicity. Copies were included discreetly with purchases at his Third Man stores, marking a more understated promotional approach. The album was well-received and returned to the blues-rock roots that initially garnered him acclaim, serving as a reassuring reminder of his enduring talent.
Following “No Name,” White’s new album “Frozen Charlotte” showcases the 51-year-old artist delving deeper into the raw, gritty aspects of ’70s blues rock that have always influenced his music. The opening track, “GOD and the Broken Ribs,” presents a bold reimagining of the Genesis narrative, featuring White rapping over a powerful blues rhythm punctuated by dramatic guitar solos. The lyrics proclaim, “Watch me rock, then I roll baby / And it’s let me out, let me out, let me shout / Right from my soul, with salt and coal / Now listen to me roll with it.”
The subsequent 40 minutes of “Frozen Charlotte” are characterized by a loud, extravagant sound that emphasizes production and instrumentation over the clever and politically charged themes of “No Name.” The track “Raising the Grain” employs heavy delay effects that create a disorienting atmosphere, while White sings about entering “the catacombs where the river flows.” “You’ll Never Fix Me” harkens back to White’s garage rock roots, featuring rebellious lyrics that are secondary to the intense spirit of defiance conveyed through the band’s gritty riffs.
As with “No Name,” it is refreshing to hear White embrace this straightforward style, his voice infused with an intensity that effectively conveys lines like “click clack, back track, tick tock, smack talk.” While this album certainly caters to fans, it contrasts favorably with the more elaborate solo projects that preceded “No Name,” likely translating well to live performances compared to earlier works like 2022’s whimsical “Fear of the Dawn.”
However, while “Frozen Charlotte” is enjoyable and generally feels energetic, it can become overwhelming. Unlike “No Name,” the songs here exhibit minimal stylistic variation, leading to a sense of repetition by the time listeners reach “She’s in a Frenzy.” At that moment, one might question whether the album has cycled back to its beginning, with overdriven guitar solos and punk-rap interludes resurfacing. The album shines brightest when it deviates from this pattern, as exemplified by “Neighbors Blues,” a delightfully eccentric track reminiscent of the HBO series about outrageous neighborly disputes. This song’s simmering tension offers a more effective use of dynamics compared to many other tracks, which often reveal their intentions too early, diminishing White’s inherent dramatic flair. It is a curious aspect of the album: while it represents White’s return to a more stripped-down sound, it could potentially benefit from an even more fundamental approach.
In other news, “Twisted Teens,” the first single from the emerging New Orleans punk duo’s upcoming 2026 album, marks a shift towards a more soulful sound compared to their previous work.
