On How’s It Goin’, Bryan Adams returns with a stylistic detour that successfully works in his favour.
Known for his signature blend of slow, melodramatic balladry and diaristic songwriting, the Canadian pop-rocker has cemented himself as an icon of ‘80s radio – think the endlessly covered “Heaven” or the crowd-favourite “Summer of ‘69”. On 2025’s Roll With The Punches, Adams toned down his beloved trademark style for a comparatively underwhelming 10-track effort, raising questions about where his sound would head next. Needless to say, How’s It Goin’ finds him embracing the heartland-rock sensibilities of his golden days, to considerably greater effect. Alongside the familiar musical foundations, Adams introduces more personal songwriting, exploring his Canadian roots and new experiences along the way.
The album begins on a slightly rocky footing with its title track, an energetic, acoustic-driven love letter to Canada. Despite an intriguing sonic shift, the lyrics are significantly less convincing, leaning on geographical and cultural references that read more like a list of Adams’s nostalgic recollections of his home country than a genuine exploration of national identity. Thankfully, the album picks up with “Highway 16” and “The Ballad of Terry Fox”, both highlighting his strengths as a heartland-rock storyteller. The former addresses the disappearances and murders of Indigenous women and girls along Canada’s Highway of Tears, raising awareness of the ongoing crisis while honouring First Nations communities. Meanwhile, the latter recounts the story of Terry Fox, who, after losing his leg to bone cancer at 18, embarked on his Marathon of Hope in 1980, running across Canada to raise funds for cancer research. Although his journey was cut short when the cancer spread to his lungs, his efforts inspired a movement that has since raised over $1 billion for cancer research. Rather than dwelling on the tragedy of his unfinished journey, Adams celebrates the resilience behind Fox’s mission, recognising that its impact extended far beyond any physical finish line.
Adams further expands on the album’s Canadian identity with the closing track “Lake Ontario”, a satirical protest song taking aim at Donald Trump’s executive order to rename the Great Lake as Lake America. He uses the track to defend Canada’s national character while poking fun at the recent controversies surrounding the American president, particularly his administration’s handling of the Epstein files: “But it feels like another distraction / While the Epstein files are gaining traction”. Its tongue-in-cheek delivery adds another dimension to Adams’s songwriting, demonstrating his ability to balance national pride with contemporary political commentary.
Despite this, Adams’s occasional attempts to appeal to a more modern crowd – whether through instrumental or structural choices – don’t always stick the landing. “When Canada Joined Newfoundland” and “Iron Ribbon” are decent songs in their own right, but their reliance on the stomp-and-holler revival sound doesn’t particularly complement Adams’s vocal style. The result comes across as an awkward attempt to bridge the gap between chasing a Myles Smith-esque hit and winning over Canadian listeners. Furthermore, “Canada’s Wild Eastern Edge” and “Heave Away” are among the album’s shortest tracks, with the former barely exceeding a minute-and-a-half. Their muddy production and repetitive lyrical themes make for an underwhelming final stretch, with “Lake Ontario” providing a much-needed return to form.
In short, How’s It Goin’ finds Adams sounding considerably more comfortable in his own skin, trading the uncertainty of his previous effort for a concept-driven collection that better reflects his musical strengths and Canadian identity. More than four decades into his career, Bryan Adams remains a compelling presence in pop-rock.
7.2/10
