There’s something refreshingly straightforward about a band that names their fourth album after themselves. It suggests a moment of clarity, a declaration that truly says, “This is who we are now.” For Montreal quartet The Damn Truth, their self-titled release feels exactly like that—a definitive statement twelve years in the making.
Recorded at Bryan Adams’ Warehouse Studios in Vancouver (where AC/DC had just wrapped sessions before them), this collection of eleven tracks captures a band operating at the height of their powers, with legendary producer Bob Rock (Mötley Crüe, The Offspring, Bon Jovi) behind the boards for the second time. What emerges is a record that sounds alive in a way that’s increasingly rare in contemporary rock.
From the moment “Be Somebody” opens with its deceptively gentle acoustic introduction—before unfurling into something far more muscular—it’s clear that The Damn Truth aren’t interested in half measures. Lee-la Baum’s vocals arrive with immediate urgency, declaring “I just wanna be somebody—in love,” a sentiment that sets the emotional stakes for what follows.
The band’s chemistry is palpable throughout. Tom Shemer’s guitar work bristles with feeling rather than mere technical showmanship. Rhythm section PY Letellier and Dave Traina create a foundation that’s both flexible and formidable—listen to the subtle groove they establish on “Love Outta Luck,” giving Baum the perfect backdrop for her confession: “I said some things that I shouldn’t have said.”
Most tracks hover around the three-minute mark, packing maximum impact into concise packages. The notable exception is “If I Don’t Make It Home,” which stretches past five minutes to create a southern-tinged epic that seems destined to become a centerpiece of their live shows. It’s here where The Damn Truth demonstrate their ability to build atmosphere without sacrificing momentum.
What’s striking about this collection is how the band moves through different shades of rock while maintaining a consistent identity. “Better This Way” introduces a touch of country-adjacent warmth, with Baum channeling something between Stevie Nicks and Ann Wilson. “Addicted” incorporates a pulsing, funky foundation, with Baum experimenting with a more rhythmic vocal approach. These aren’t jarring departures but rather natural extensions of the band’s vocabulary.
Rock’s production fingerprints are evident throughout—particularly in the magnificent drum sound—but he never overpolishes. The performances retain their immediacy, suggesting many tracks were captured with minimal overdubbing. This approach serves songs like “Mirror Mirror” particularly well, its haunting melody and lush guitar textures given room to breathe organically.
“The Willow” represents perhaps the album’s most adventurous moment. Its atmospheric, Zeppelin-esque qualities reveal a band unafraid to embrace their influences while transforming them into something distinctly their own. Rock reportedly told the band, “When I hear you guys, I feel the spirit of Led Zeppelin I… Let’s make a record like that—playing together, live, feeding off each other’s energy.” That spirit permeates the track without feeling derivative.
Album closer “The Dying Dove” begins with the warm hum of Hammond organ before building through multiple dynamic shifts—quiet, loud, and back again—giving Baum’s voice its most expansive showcase. It serves as a fitting conclusion to a record that never loses sight of the human element at its core.
It’s refreshing that the band also manage to capture the essence of classic rock without resorting to mere nostalgia. There’s an authenticity to their sound that can’t be faked—it comes from years of playing together, from countless nights on stage honing their craft.
The album arrives at an interesting moment for rock music in Canada. While the country has produced its share of internationally renowned acts across various genres, The Damn Truth represent something increasingly rare: a band utterly devoted to the fundamentals of rock and roll, neither apologizing for their influences nor attempting to dress them up in contemporary packaging for commercial appeal.
After years of touring across Canada and Europe, The Damn Truth have built a reputation as a formidable live act. This album captures that energy while expanding their sonic palette. With two singles already reaching the Top 40 on Canadian Active Rock charts, they seem poised for wider recognition.
What ultimately makes this self-titled album work is its balance of power and vulnerability, technical skill and raw emotion. In a musical landscape often dominated by carefully constructed personas and algorithmic production, The Damn Truth have delivered something refreshingly human—a record that sounds like four people playing together in a room, channeling joy, heartbreak, and everything in between through amplifiers turned up to eleven.
For a band twelve years into their career, this level of vitality suggests they’re just hitting their stride. The Damn Truth have made an album worthy of their name—honest, unvarnished, and thrumming with life.
“THE DAMN TRUTH” is released on March 14th via Spectra Music
The Damn Truth play MTelus on 26 March. BUY TICKETS
Photo credit – Natali Ortiz & Steve Gerrard
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