{"id":4023,"date":"2026-07-11T22:38:56","date_gmt":"2026-07-11T22:38:56","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4023"},"modified":"2026-07-11T22:38:56","modified_gmt":"2026-07-11T22:38:56","slug":"jack-white-keeps-rock-n-roll-on-the-front-burner-in-frozen-charlotte-his-heavy-and-blazingly-worthy-no-name-followup-album-review","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4023","title":{"rendered":"Jack White Keeps Rock \u2018n\u2019 Roll on the Front Burner in \u2018Frozen Charlotte,\u2019 His Heavy and Blazingly Worthy \u2018No Name\u2019 Followup: Album Review"},"content":{"rendered":"
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\n\tThe first question most Jack White fans are looking to have answered to when it comes to his new album, \u201cFrozen Charlotte\u201d: Is it effectively a \u201cNo Name 2.0\u201d? Nearly everyone is hoping for a \u201cyes,\u201d on that one. In his solo career, White spent a few years notably bouncing around, veering between acoustically oriented efforts and pure freakazoid workouts, to wildly mixed reactions. Then came 2024\u2019s \u201cNo Name,\u201d one of the great modern rock \u2018n\u2019 roll records, which satisfied approximately 99.2% of the fan base with a formula that amounted to something like \u201cthe White Stripes, but beefier and brawnier.\u201d Rarely has a standom been more primed to say, Please, sir, may we have another<\/em>.<\/p>\n

Read more TIS Studios Expands Bogot\u00e1 Production Hub With New 18,300-Square-Foot Soundstage (EXCLUSIVE)<\/a><\/p>\n

\n\tSo, to cut to the chase: Yes! \u201cFrozen Charlotte\u201d feels like a sequel\u2026 a sequel people actually asked for. It couldn\u2019t play much more like one if White had set to work on this one the day after sessions for \u201cNo Name\u201d ended, even if we know that\u2019s not exactly how or when it went down. Glory, hallelujah: You may now kiss the spinoff.<\/p>\n

\n\tThe sense of musical continuity is a welcome thing for fans who wanted to hear White keep mining that same vein of intricate\/blowhard blues-rock. But listen beneath the surface of all that mind-blowing busywork and some differences do become apparent \u2014 \u00a0more so in his attitude than the arrangements. Plainly put, Jack White is pissed<\/em>. As in, really pissed, about something. Admittedly, sometimes it can be hard to tell: Even at his most mirthful or joyous, he has a way of sounding like he\u2019s in a state of agitation. So, sure, his music already sounded furious, in fundamentally playful records like \u201cNo Name\u201d and \u201cBoarding House Reach.\u201d But with \u201cFrozen Charlotte,\u201d it\u2019s as if his psyche caught up. Whatever brought it on, it\u2019s not bad for the music, which is as compelling as it is pummeling. He\u2019s angry, and if anything, that\u2019s just going to make us more mad about the boy.<\/p>\n

\n\tWhat\u2019s he got to be upset about? Well, some of the same things that have stirred the fury of rockers since the dawn of time \u2014 namely: a girl who has done him wrong, an inscrutable God, and the prying eyes of nosy outsiders. White alternates vexing existential questions about the very nature of existence (starting with the first single, \u201cG.O.D. and the Broken Ribs\u201d) with smaller-picture complaints about a relationship that has gone very, very awry (\u201cYou\u2019ll Never Fix Me\u201d). The settings range from the Garden of Eden to his own kitchen, which is invoked twice in this album as a place where unpleasant things happen. In other words, the Sturm und Drang is both cosmic and domestic. But wherever the sense of chaos is coming from, he is going to make it the stuff of moshpits, whether he is performing these songs out on the road or just inspiring you to bounce off of the walls of your own living space. (You are<\/em> angry about something, too, aren\u2019t you?)<\/p>\n

\n\tAs promised, his all comes out in the form of deliriously relentless rock \u2018n\u2019 roll, released in short, cathartic bursts. Among the 13 songs here, only one is longer than four minutes, and several hover around the two-and-a-half-minute mark. But White crams so much into every number, none of them feel nearly that compact. It\u2019s like each one is as filling as a rich dessert\u2026 if a rich dessert were also capable of delivering powerful body blows.<\/p>\n

\n\tIf you know your rock history a little, you could imagine that White is basing his whole current aesthetic on Led Zeppelin\u2019s \u201cHeartbreaker,\u201d which is a pretty solid rock upon which to build one\u2019s house. Just as Jimmy Page would have the rest of the band drop out so that he could have a few precious seconds to unload some pure, unleavened guitar squall, you find that replicated in the very first song here, the aforementioned \u201cG.O.D. and the Broken Ribs.\u201d Except White is a bit more democratic and economical about it \u2014 he takes the first two mini-solos between verses in this opening song, then allows bassist Dominic Davis, drummer Patrick Keeler and Hammond organist Bobby Emmett to each solo for a few seconds when their turns come up. It sets the stage for an m.o. that is fast and faster, and loud and louder, but with a savvy sense of dynamics and change-ups \u2014 crushingly \u201cheavy\u201d music that somehow manages to evince a light touch.<\/p>\n

\n\tAs good as it is, \u201cG.O.D. and the Broken Ribs\u201d might actually be the weakest cut on the album, so if that one didn\u2019t completely grab you when it came out as a teaser track, make a date to go in for a deeper dive here. Things really start to take shape with the second number, \u201cDerecho Demonico,\u201d which starts off with White offering a kind of classic blues boast: \u201cWell, I came to ya on the back of a twister storm \/ You know I got something up my sleeve, I guess you\u2019ll have to twist my arm.\u201d The suggested arm-twisting elicits an extended solo that has either White\u2019s guitar or his vocals (or both) being put through some kind of squawk box. Later on, Emmett takes a Hammond organ solo marked by the kind of distortion that suggests Uriah Heep doing garage-rock. It\u2019s kind of happily exhausting, and the album is still just getting started.<\/p>\n

\n\t\u201cThere\u2019s Nobody There\u201d begins with an intricate, twisty riff, and then, at the 1:40 mark, assumes that you might have already gotten bored with that riff, so it\u2019s time to introduce an entirely different one as a bridge. Why not? Keeler\u2019s snare drum head couldn\u2019t be more tightly wound, unless it were White\u2019s mind. The singer repeats \u201cWell, if you know me, you\u2019ll never love me\u201d six times. The onset of more organ soloing by Emmett over twin guitars is just the barrage needed to slam home the paranoia and loneliness in a song that alternates self-effacement with self-defensive allegations of gaslighting and abandonment.<\/p>\n

Read more \u2018Lover, Not a Fighter\u2019 Review: Freewheeling Slovak Charmer Charts a Sober (but Not Solemn) GenZ Romance<\/a><\/p>\n

\n\tSome songs slam right out of the gate, like \u201cYou\u2019ll Never Fix Me,\u201d which has White\u2019s guitar pounding the listener with jackhammer quarter notes while Keeler offers contrastingly fluid drum fills. Not everything starts at an 11. \u201cI Can\u2019t Believe What I\u2019m Hearing\u201d begins with a nice, basic thump \u2014 not an icky one at all \u2014 before uncovering the album\u2019s one \u201cpretty\u201d chorus, which is to say, something you could imagine on a Ranconteurs record. And so it goes: the songs relent long enough to give just a moment\u2019s rest, and then get in your face again, like well-designed carnival rides that just happen to offer bonus emotional content.<\/p>\n

\n\tOccasionally White gets in some social commentary, although less than you might guess from his Instagram. \u201cMaking Contact\u201d morphs into the phrase \u201cmaking content\u201d and goes on to deliver the album\u2019s wildest and silliest rhyme: \u201cLike JP Morgan or Rockefeller\u00a0\/ Tell the world they shouldn\u2019t care bout salmonella.\u201dOr maybe that honor should be reserved for \u201cNobody Knows,\u201d a song themed around agnosticism, which includes this classic couplet: \u201cWell, so is God making fun of us?\u2026\u00a0\/ You and me, Isaac, Albert, Pythagoras.\u201d And this one: \u201cFrom Neanderthals to the Denisovans\u2026 \/ Are the homosapiens the future aliens?\u201d There is welcome comic relief of that sort in White being able joke around with his wordplay a little when he\u2019s pondering the nature of the universe. Because when it comes to the other songs that deal with affairs closer to the heart, he seems as serious as a heart attack.<\/p>\n

\n\tThere is an elephant in the room here, if you believe that most popular music is confessional to some degree, and that is the divorce filing that White\u2019s wife, Olivia Jean, made shortly before the new album came out. Maybe it\u2019s irrelevant. White has avowed in interviews (including one in Variety<\/em> a few years ago) that when he sits down to write lyrics, he is not interested in delving into his personal life. We could take him at his word on that, and also, at least some of the new record was recorded long enough ago that Jean is credited for playing bass on one number. But at the same time, the lyrics so consistently deal with strife and estrangement that you don\u2019t get the impression \u201cFrozen Charlotte\u201d would necessarily be an album someone would write on his honeymoon.<\/p>\n

\n\t\u201cSo long, so long, I\u2019m gone,\u201d White keeps repeating in \u201cYou\u2019ll Never Fix Me.\u201d \u201cMy love is broken, it\u2019s inside of your mind \/ Just \u2019cause I don\u2019t speak that don\u2019t make me a mime \/ Chat your friends that you will never fix me\/ <\/strong>Just take a shot and you\u2019ll miss me.\u201d And: \u201cSo long, I\u2019m yelling now because I\u2019m gone\u00a0\/ Son you can fix up the sheets in the morn \/ I\u2019ve had enough of waking up in pain.\u201d At his most cynical, in the slide guitar-driven \u201cDollar Bill,\u201d he sings, \u201cShe did it for the love \/ And a dollar, a dollar bill.\u201d His writing isn\u2019t thick with mundane details, but when one pops up, it tends to draw your attention: \u201cCan you believe the energy she wasted on the kitchen floor?\u201d he asks in \u201cShe\u2019s in a Frenzy,\u201d proclaiming that he is oddly jealous of a woman he describes as \u201ca tempest in a coffee cup.\u201d Whatever is going on to stir all this up, it seems like some intense shit.<\/p>\n

\n\tWhite would not be happy about these songs being used to speculate about what goes on behind closed doors \u2014 that seems evident enough from the several songs on the album that express enmity toward snoops and know-it-alls. In \u201cDerecho Demonico,\u201d he concludes, \u201cWhat I do and how I do and why I do it, it\u2019s none of your business.\u201d And the whole final track \u2014 \u201cNeighbours Blues,\u201d the one that is actually relaxed enough to stretch to the five-minute mark \u2014 is literally a NIMBY anthem. \u201cI know we need \u2019em,\u201d he says of the concept of neighbors, \u201cjust not in my backyard\u2026 Yeah, my hedges are too high, aren\u2019t they? They want to keep an eye on me, so they can get their licks.\u201d He adds, in a clever transition, \u201cI\u2019m gonna get some of my own,\u201d and proceeds to deliver some of the album\u2019s best licks in a guitar solo that goes somewhere supersonic.<\/p>\n

\n\tThe solos here are just about all short and not at all sweet; White has a way of making his native instrument sound more like an angry theremin than a guitar, in a tune like \u201cDollar Bill.\u201d The playfulness comes in sometimes in just where the solos are placed. In \u201cNobody Knows,\u201d he sings about the impossibility of anyone ever getting an answer to life\u2019s most imponderable existential questions. Then he blurts, \u201cWell, maybe somebody<\/em> knows,\u201d suggesting that there could be a God who just does not want to let on to us, and he immediately follows that with a solo that maybe is meant to convey what it is like to come up against a withholding, mischievous deity. If agnosticism can be encapsulated in a guitar solo, White has pulled that off.<\/p>\n

\n\tHaving expounded on the album\u2019s fascinating lyrics, it may bear mentioning that only a handful of White\u2019s fans will devote any time at all to pondering them. When these new songs come up in his U.S. tour, fans will marvel at how well the clarion-call riffs fit in with the classic chord progressions that already fill ballparks, and admire his chutzpah and classic-rock brawn, not his poetic sensitivity. That\u2019s as it should be. There are some deep thoughts buried in \u201cFrozen Charlotte\u201d about the solitariness of existence and how \u201cwe\u2019ve been alone since the day that we came home\u201d from the maternity ward. But when everyone is at the Brooklyn Paramount or Hollywood Palladium in the coming months, bobbing heads in unison to these barnburners, it will be a jubilee, a lonely experience. A little shared visceral agitation looks good on all of us.<\/p>\n

Read more \u2018Elle\u2019 Bosses on Lexi Minetree\u2019s Elle Woods Transformation and How the Late James Van Der Beek Rewrote His Character\u2019s Ending<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Jack White’s ‘Frozen Charlotte’ is exactly the sequel to ‘No Name’ fans were hoping for, full of equally heavy riff-rock with more ticked-off attitude.<\/p>\n","protected":false},"author":1,"featured_media":4022,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[3280],"class_list":["post-4023","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-jack-white-2"],"yoast_head":"\nJack White Keeps Rock \u2018n\u2019 Roll on the Front Burner in \u2018Frozen Charlotte,\u2019 His Heavy and Blazingly Worthy \u2018No Name\u2019 Followup: Album Review - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4023\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jack White Keeps Rock \u2018n\u2019 Roll on the Front Burner in \u2018Frozen Charlotte,\u2019 His Heavy and Blazingly Worthy \u2018No Name\u2019 Followup: Album Review - 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