Bryan Adams 'How's It Goin'?' album review: A musical tribute to Canada

There's something immediately familiar about the opening title track of How's It Goin'?. A folk-inspired, Bob Dylan-influenced number, built around country picking and a chugging, almost train-like rhythm, it sets the tone for an album that is as much a celebration of Canada as it is a collection of songs. Political themes run throughout, but Adams never really gets preachy. Instead, he offers a thoughtful social and political commentary on the people, places and events that have shaped his homeland. There's even a touch of Billy Joel's 'Travelling Prayer' in its galloping rhythm and folk-rock feel.

Things take a darker turn on 'Highway 16'. Also known as the Highway of Tears, this stretch of British Columbia has become synonymous with the disappearances and murders of Indigenous women and girls, a tragic history that has devastated communities for decades. Adams takes an observational approach, describing a "black strip running through a broken dream". The mandolin-heavy arrangement gives the track much of its character, while the contrast between its upbeat country-rock melody and the weight of its subject matter is particularly effective. It's a sobering moment on an otherwise relatively upbeat record.

Musically, the album is fairly predictable. Adams has always had an ear for a melody, and those familiar country-rock foundations are never far away. But there's more going on lyrically than the music might initially suggest. The writing is thoughtful, often poetic, although occasionally it edges towards the clichéd. Still, there's a genuine warmth and sincerity to what he's trying to achieve.

'D​iesel and Dirt' leans further into a slower, moodier feel, bringing rural and farming communities into focus, with some lovely slide guitar work. Adams' vocal performance is particularly strong here, his familiar gravelly delivery coming to the fore as he opens up his voice more than he does elsewhere on the album. There's also a nice arrangement twist in the middle eight, where the piano takes over the solo before the guitar eventually joins the party. A welcome change of pace.

'Battle of Lundy's Lane' takes us back to 1814, reflecting on the battle between British and American forces, alongside Indigenous Canadian allies. There's a romantic lilt to the song, which contrasts nicely with the history behind it. The line "that was worth the price they paid" captures the sense of sacrifice that runs through much of the album.

That theme continues with 'The Ballad of Terry Fox', an uplifting tribute to one of Canada's most inspirational figures. Fox's extraordinary Marathon of Hope, undertaken despite losing a leg to cancer, is a story of endurance, determination and the human spirit. "He didn't run for gold but for the people and their stories that never will be told" is a particularly lovely line, capturing the selflessness behind his journey. Few listeners outside Canada will necessarily know Terry Fox, or indeed many of the other people and events referenced here. And that's precisely why Adams is telling these stories. He's giving them a platform and making sure their legacies aren't forgotten.

'51st State' is a rather more direct. A full-blooded rock song and an unmistakable two fingers to the idea of Canada becoming America's 51st state, it sees Adams firmly planting his flag in the ground. Against the backdrop of Donald Trump's repeated comments about Canadian annexation, it's a defiant celebration of independence, national identity and the freedoms Canadians share.

Elsewhere, 'Heave Away' gives us a take on the traditional sea shanty, while 'Handful of Gold' heads back to the Klondike Gold Rush. Its digging rhythms and claustrophobic feel capture something of the desperation and hardship of those chasing their fortunes. 'Iron Ribbon' turns its attention to the railway workers who helped build Canada, celebrating the unity and sacrifice behind the construction of the country's rail network. There's a recurring theme here of ordinary people doing extraordinary things, and Adams clearly has a real affection for these stories.

'The Bridge' is perhaps the most Springsteen-esque moment on the album. Recalling the 1958 Second Narrows Bridge disaster in Vancouver, which claimed 19 lives, it combines working-class storytelling with a powerful sense of human spirit. There's a familiar Springsteen quality to its focus on ordinary people caught up in extraordinary circumstances. It's another example of Adams finding the human stories behind the history, and this theme of everyday heroes is arguably the album's strongest thread.

The closing track, 'Lake Ontario', brings things to a suitably defiant conclusion. Once again, Adams turns his attention to Canadian identity and the importance of protecting its history and heritage, with the pointed line "First Nations name, not an executive order". It's a fitting way to close an album that repeatedly returns to the idea that a country's identity belongs to its people, its history and its shared experiences.

Ultimately, How's It Goin'? is a love letter to Canada. There's perhaps a tendency to romanticise and idealise the country at times, and musically Adams doesn't stray too far from familiar territory. But there's plenty of heart here, and more lyrical substance than you might expect. These are songs about the people who built the nation, those who fought for it, and those whose lives were lost along the way.

Adams might not be reinventing himself musically, but he's found an interesting purpose for his songwriting. It's an album that looks beyond the usual rock and roll themes, shining a light on stories that deserve to be heard. And while the familiar melodies might draw you in, it's the stories and the people behind them that give this record its identity.