Jon Bon Jovi pauses, close to the end of his concert to unveil his new album. He tells us that he still has “something to say.” Pause. “And nothing to prove.”His band’s 14th studio album, out on November 4, is called “This House Is Not for Sale.” It rocks as hard as its predecessors, even with a change of personnel, and has at last three tracks with huge hooks: the title track, “God Bless This Mess” and a sweet ballad called “Scars on This Guitar.” Like him or not, this is classic Bon Jovi – big choruses, heavy but melodic guitars.The gig, at London’s Palladium, is one of four, called “intimate shows” or “listening parties,” to introduce the album to fans, Tidal customers, journalists and guests (such as Alex James of Blur).The 2,000-seat venue is packed, but it is still “intimate” in that Jon Bon Jovi, now 54, opens up his heart to us in confessionals between the songs, comprehensively explaining how each came to be written. The lyrical lectures are serious, with just touches of humor and little irony, apart from a joke at the opening about him impersonating Bruce Forsyth at the London Palladium. So it is less of a party than therapy, a showcase of the band and new material which is never less than workmanlike and impressive.The jumping off point to all of this is the crisis Bon Jovi went through a couple of years back: writer’s block, and after 30 years together, a near break with his record company and the departure of guitar ace Richie Sambora. As Bon Jovi points out, he’s had a three-decade career and 33 years with his wife - and he fully intends to be playing to us in 30 years’ time. The crisis was not exactly life or death but midlife crisis it was. Cynics may ask if we care about the mild tribulations of a wealthy rocker, but these inspired most of the new album which seems to be mad over pretty much everything you can throw at it.The title track has a lot of a backstory which its writer sets out. He’d seen a striking black and white image, created by artist Jerry Uelsmann, of a stone house anchored by deep roots. He saw the four walls as being like many things, such as the band. The house cannot not be knocked down; cannot be bought or sold. People and nations such stick to integrity and they cannot be defeated. The song already seems like a natural for Bon Jovi’s next “Greatest Hits” album too, whenever that comes, one to sit alongside “Livin’ on a Prayer” or “You Give Love a Bad Name.”Bon Jovi is proud of the songs and really cares about this stuff. “The Devil's in the Temple” is about the music business; “Knockout” about fighting to be hopeful; “New Year’s Day” is a carpe-diem call for action. “All Hail the King” has him so emotional during the set that he has to stop the song and take it again from the top.It’s hard to argue with 130 million albums sold, and Bon Jovi has the last laugh on those critics who ridiculed the fashion-defying glam-rock poodle-cut years – laughing all the way to the bank in fact. Bon Jovi now looks better than ever: he could be a company vice-president, perhaps, with a penchant for working out his lithe frame, running a hand through distinguished hair in a speech. Then it transpires he happens to sing very well too, such as on the acoustic “Scars on This Guitar” – a nice change of pace.Bon Jovi has decades of experience playing hits. For the encore, he thanks everyone for bearing with 15 new songs. He offers up a couple of more familiar tracks as compensation, with the venue rocking big time for the closing “Bad Medicine.”He embraces “new” guitarist Phil ‘X’ Xenidis, who has been actually in place for a while, initially as a touring member. There are a few off-key notes, nothing much to worry about in new material offered to friends, but enough for an apology to be offered. Not that it matters with lyrics like “God bless this mess/ this mess is mine/ I won’t pound my chest/ or criticize/ I must confess/ I’ve lived I’ve died…” Expect a lot of stadium singalongs with phones and lighters held aloft.Jon Bon Jovi may think he has nothing to prove. With this new album he proves he is still a force to be reckoned with, and capable of crafting entertaining hits to add to his canon. Going down in a new blaze of glory even.
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