The Miserable Rich – Overcome Review

Apt titles and a return to form for The Miserable Rich over a decade after their last go-around, Overcome feels as powerful as its title. This is the chance for a band whose chamber pop charms worked in the cracks of the early 2010s. Hearing how they fare a decade on from those genre improvements is a fascinating experience. A decade is a long time in life, an almost impossible chasm in music. How much has changed for the people who make up the band is as imperative as how much difference there is between when they started in this genre to where they ended up. Overcome is a chance to reflect and return to form all in one – a rare gift for few artists. The Miserable Rich is keen not to squander this chance.  

One of seemingly infinite bands and artists to be obsessed with using the word “Ballad” on a piece which does not warrant its use, The Miserable Rich opens with Ballad of Young Finn. Vocalist James de Malplaquet can hold a note but the suggestion he has found something new to write about – the sole reason for their return it would seem – settles on shaky ground. Clicking fingers and some sharp, reluctant strings can be interpreted as this desire to build a well-layered tune, but to do so requires observations beyond the reach of The Miserable Rich. At least Malplaquet has longevity to his notes which makes for good cover when the band needs it, which is frequently. Some confidence soon appears, the strengths of guitar work and backing vocals, the thump and sudden revoking of said percussion on Crows, is rather wonderful.  

Ukelele-battered country twangs on FHS reach for the nature and winding, trodden pavements. It works fine enough but becomes a light and battered experience. The Miserable Rich may return to the charms of those blurry days of percussion and strings, but their weightless tunes are blown away on the light breeze they hope to capture. Pieces like Glue and If Only feel too light to land an emotional mark yet too heavy in their lyrical material to not be considered a push for emotive plucking. Highs of Probably Will give a glimpse at where The Miserable Rich are aiming though their sights dip soon after. A shame too since their encouraging momentum is sharply cut by the self-flagellating coughs of Quietly.  

The waltz-like charms of Taken filter in too late – the experience is all the same for The Miserable Rich who are hellbent on using the passage of time as their entry point, occasion and only message. Tender and touching it all may be to hear a band reform well over a decade after their last piece, the rise and charge is a tad deflated when Overcome crawls to its end. The Miserable Rich has not squandered their chamber pop opportunities or their legacy with this but does struggle to maintain its unique angle of hope and healing through the wilderness. The Miserable Rich is still very much out there as they try and recover their passions, loves and hobbies. We All Know showcases this best of all – as touching as it gets for Overcome, which cannot get the better of sombre chamber charms.