Trey laments the fact that he’s “still kissing girls I don’t love, still stumbling out of the clubs” on the latter.

“#1Fan” and “Playboy” almost make Trey sound like a changed man. “The Prelude” really helps set the tone of the album – it’s the same Trey fans know, bragging about sweating weaves out and whatnot, but with a new sultry tone, one that bleeds directly into the first proper song, “Come Over.” Sounding like a cut from a mid-90s playlist, Trey croons apologetic lyrics over a sultry backdrop. While Trey doesn’t totally go Aaron Neville on us, he forgoes his usual debauchery for a more soulful sound – ironically, the same sound he cut his teeth on more than a decade ago. Maybe that’s why Trey’s Trigga persona takes a back seat on this musical journey, instead letting the more mature Tremaine take the wheel. As we discussed on a recent edition of the YouKnowIGotSoulInStereo podcast, Trey finds himself at an awkward stage – still too young to be boxed into urban adult contemporary radio playlists, but way too old to be singing about pouring liquor on strippers in the club. When an artist as vocal as Trey starts playing the shy guy ( word to Diana King), red flags start flying. Mainly because it seemed that Trey himself was skeptical.ĭespite tons of press about his new reality show and the launching of his next tour this summer, Trigga’s been relatively mum about this album outside of a couple Instagram posts and quietly released singles. Although I go into every new album with an open mind – as any halfway decent music reviewer should – I must admit I was a bit skeptical of Trey Songz’s seventh solo LP.

Trey songz tremaine review