Sam Ryder, “There’s Nothing But Space, Man!”

U.K. singer Sam Ryder may not be a newcomer, but the powerhouse vocalist’s debut solo effort is a long time in the making. Ryder fronted a handful of bands, opened a juice bar, busked on the street and played at weddings.

Inspired by outer space, a pair of cosmic convergences came together to launch Sam Ryder toward the stratosphere. First, he joined TikTok and quickly found a following from his covers of popular songs during the pandemic. Next, an appearance on “Eurovision” this year garnered him even more acclaim. He finished second only to Ukraine’s Kalush Orchestra. And now it all culminates with his debut solo album, There’s Nothing But Space, Man!

Ryder is fascinating combination of influences, citing everything from Sum 41 to Iron Maiden, Elton John and David Bowie. All of those ingredients come together (slightly) to form Ryder’s vocal DNA. His presence is felt immediately from the opening notes of the “Deep Blue Doubt.” The album opener immediately evokes Elton, before shifting into a Bryan-Adams-like piano-driven pop-rock song. He hits the highs and lows, falsetto to powerfully delivered lower tones. It’s anthemic, infectious and memorable. “Space Man” digs into Ryder’s love of space, chock-full of astronomy references over a mid-tempo pop arrangement. He even sneaks in some tasty guitar licks for good measure.

“Somebody” is a funky, soul-inspired pop song, with Sam Ryder showing of his versatility. A choir adds an extra layer to the uplifting groove. When Ryder spits out a wordy cadence on the verses, it’s pure ear candy. The high-drama “Tiny Riot” is one of the highlights of the album. It sounds like Fall Out Boy playing bombastic soul music. Ryder’s vocals explode over big beats and spacious harmonies.

“Turn the pouring rain to the wave of a tiny riot,” he shouts.

Sam Ryder shifts completely on “All the Way Over,” a tender and reflective piano ballad the sees the singer soaring to the highest reaches of his range. The song closes with a magnificent crescendo of orchestral mayhem and him singing to the heavens. The pace then picks up on beat-heavy mid-tempo song “OK,” which sounds at home on a playlist next to OneRepublic.

The opening guitar notes of “Put a Light on Me” sounds like the beginning of an ’80s rock ballad; that is, until the bass drops and the beat kicks in. The song transforms into an electronic dance floor anthem. It’s a departure from the sound on the rest of the album but still fun and with a hook that’s impossible to forget.

“Whirlwind” then boomerangs in the opposite direction. It’s an folky ballad with some light electronic programming and subtle fingerpicking. The song even has a slight Southern twang, and with a few tweaks could easily become a country anthem. “Ten Ton” strips things back even further for a funky mid-tempo piano-driven tune. Sam Ryder has such a dynamic tone. At times, you can hear shades of George Michael. The song stands triumphantly tall with a shredding bluesy guitar solo.

Each track shows a different side of Ryder as an artist, both sonically and vocally. The upbeat “More” is poppy in a Mumford and Sons sort of way. It flows through it’s gang-shouted “woah-oh” harmonies. Ryder strips just about everything back on intricate ballad “Crashing Down.” While one of the more conventional pop ballads, it still manages to find a different side of his singing to showcase. He picks it up for the brass-led “This Time,” a bluesy stomper that evokes some early Jason Mraz.

Ryder leaves all the bells and whistles in the toolbox for closer “Lost in You.” It’s a tender and fitting close to a record that covers a lot of ground. The year may be waning, but Sam Ryder establishes himself as a force to which you’ll want to pay attention.

Follow writer Mike DeWald at Twitter.com/mike_dewald.