Morrissey’s ‘Make-Up is a Lie’ review – Sometimes never is better than late

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Morrissey, like most artists, has evolved over the years, but his core style remains largely the same – and that can be a problem. Fortunately, his albums still sound consistently good, and his voice, unique after four decades in music, remains instantly recognizable. The music generally fits his vision, shifting at times from softer sounds to more driving rock.

Interestingly, the one area where Morrissey hasn’t succeeded recently is his songwriting. It’s undeniable that he’s always been a gifted lyricist, especially since his time with The Smiths. However, while his earlier songs resonated with many, making even sad themes feel relatable, his lyrics over the past ten years have often felt angry and distant, leaving listeners feeling excluded.

Our leader, who always acted like he didn’t want the position, has disappeared. He’s shifted from seeking approval to acting like a grumpy recluse, wanting to be left alone.

Morrissey’s Make-Up is a Lie isn’t worth your time

That brings us to his latest album, Make-Up is a Lie. It was initially recorded in 2023, but Morrissey significantly reworked it – cutting half the tracks, adding new ones, and even changing the album’s title several times while searching for a record label. The result is an album that feels both incredibly fresh and like it’s been in the works for years.

Are we even interested in adding this album to our collection? It probably won’t reach the level of classic Smiths albums or the early work from Morrissey’s solo career, but it could still be a worthwhile addition, couldn’t it?

The album opens with the songs “You’re Right, It’s Time” and its title track, both of which were considered as potential album names. Musically, the two songs are quite similar, blending elements of alternative rock and Western film scores. However, the lyrics of the title track are repetitive and uninspired, as Morrissey simply repeats the song’s name throughout the chorus.

“Notre-Dame” has a unique style, but feels more suited to a lesser-known song on a James Bond-inspired movie soundtrack – not quite strong enough to actually be in a Bond film. The guitar solo around the middle sounds amateurish, as if the player is very new to the instrument.

Morrissey’s version of Roxy Music’s “Amazona” begins well, but loses momentum midway through. It lacks the dramatic build-up the song needs, and likely wouldn’t impress Bryan Ferry. It’s a surprising misstep, as earlier work by Morrissey was usually more dynamic.

Headache seems to be striving for the same impactful success that Pulp achieved with Different Class, but falls short. The problem again lies with the lyrics, which rely on personal jabs. The song repeatedly tells its subject, simply, “I don’t like you.”

This is often when listeners notice Morrissey has lost his knack for sharp, witty remarks and a playfully edgy sense of humor. He simply isn’t funny in a clever way anymore.

Beyond the album’s sleepy melodies, there are also noticeable flaws. The song “Zoom Zoom the Little Boy,” for example, starts by simply stating its own title, then repeats the line “he only thinks about joy.”

While not a standout track, “The Night Pop Dropped” hints at Morrissey remembering his past songwriting strengths, like those found in songs such as “November Spawned a Monster.” However, the song’s guitar work, once defined by Johnny Marr’s distinctive style, now sounds like a weaker, disco-influenced imitation, making any initial excitement about a potentially good song feel ultimately disappointing.

The song “Kerching Kerching” feels like a late-stage number from a struggling, uncelebrated musical. It’s not terrible, but after a series of similar-sounding tracks, it doesn’t really stand out.

The album ends on a somber note, much like it started. The final song, “Lester Bangs,” is a tribute to the influential music critic, but it doesn’t quite stand out because the instrumental backing feels too subdued. This holds true for the closing tracks, “Many Icebergs Ago” and “The Monsters of Pig Alley” as well – they blend in with the rest of an ultimately underwhelming album.

Morrissey would have been better off revisiting his past successes, like the song “Speedway,” and taking inspiration from his live shows (when he actually performs them). His concerts effectively shift between softer and more intense moments, and that dynamic is something to build on. Unfortunately, Make-Up is a Lie feels like a drawn-out, uninspired reflection on lost potential and a bygone era.

Rating: 3 out of 10

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2026-03-06 19:00