Ben Platt, “Honeymind.”

Since starring in 2012’s “Pitch Perfect,” Ben Platt has found success across the stage, screen and record player. It’s his candid penmanship and evocative, theatrically trained voice that make him so appealing. On his newest effort, Honeymind, he’s reflecting on the impact that queer love has had on his life in a more open and honest way than ever before.

Sonically, the record finds a middle ground between the sounds of his past two records: mixing the acoustic guitars of Sing to Me Instead with the dreamy pop of Reverie. It makes for a nostalgic soundscape—simple, yet sweet.

The Broadway star’s biggest draw has always been his outstanding voice, which is undoubtedly still the case. His purposeful cracks, unreal range, intentional dynamic shifts and quick vibrato are heard in this new LP, even if in an often more subtle way.

“Right Kind of Reckless” is a soft and sweet opener, with reverberated guitar strums backing Platt’s soft vocals. The song could be a folk song passed down through generations, with a timeless feel and lyrics that give advice: “Time’s gonna make you grow up by the day/ Teach you how to say goodbye to something.”

On “All American Queen,” Platt, in layered vocals, sings in third person about a gay child growing up, perhaps even describing his own experience. It’s a sweet ode to growing up standing out from the norm, with Platt twisting the narrative from gay stereotypes being weird to them being the American norm.

Shifting power dynamics, he sings, “When his pops starts crying he says ‘daddy be tough.’” The automated claps as percussion elevate the childhood theme, but don’t make for particularly memorable or unique production—the same can be said about the repetitive, chant-like melody.

On single “Andrew,” Ben Platt sings about a childhood version of himself having a crush on a straight boy. It’s a relatable story, and its folky dream-pop vehicle is an example of something Platt uniquely brings to the table. When one thinks of modern “gay music,” it often is flamboyant and theatrical—and typically amazing. But for an album to be so calm while simultaneously taking pride in its queerness is a step forward in the normalization and diversity of what LGBTQ+ music can be.

While “Andrew” is a sweet song, Platt is truly at his best when embracing his full-throttle vibrato. On these pop tunes where he holds back his vocal abilities, his biggest strength as an artist is limited.

“Cherry On Top,” another single, features crisp guitar playing and Platt’s incomparable voice. It’s again a warm, loving folk tune, with melodies straight from the ‘70s’ best acoustic hits. Lyrics, like “Your love is the cherry on top,” are sometimes overly cliché and on-the-nose, and the love story would be better served with a few cuts to those repetitive romantic motifs.

“Treehouse” is yet another classic-sounding folk song, this time embracing a slow Nashville twang and featuring Brandy Clark crooning alongside Platt’s soft vocals. “Love is a treehouse/ Kind of a gamble to get in,” they sing.

The country influence continues on the fast-paced “Show to Drop” and the candid “Fear of Missing Out,” a song that lets Platt’s vocal agility shine in a natural way.

The title track, an ode to his lover, is sung mostly in Platt’s sweet falsetto. Its smooth, slow sweetness drips like honey, and its steady guitar plucking creates a cozy background for the mellifluous track.

Then, on “Home of the Terrified,” Platt sings about anxiety and fear while envisioning himself as a father. Picking up an upbeat sound after a few calmer songs, intriguing vocal layering and multiple styles of guitar strums layered on top of each other support the vulnerable-yet-peppy track.

The project comes to an end with “Monsters,” a piano-based tune that lets Ben Platt belt his heart away. Reminiscent of his first studio effort, the song starts out a bit different from the pop vibe of the rest of Honeymind. Halfway through, though, acoustic percussion and guitar chords pick up the energy, tying it into the record as a fitting and sweet conclusion.

The project’s fantastic cover art perfectly represents what’s inside: queer love, dreamy skies and a folky foundation. Platt’s honesty and vocals remain his strong suit, making the songs that force him to hold back on his vocal skills occasionally disappointing. But there is value in the sense of joy—in spite of heartbreak—found throughout the record. Going into summer, this love-filled, tranquil album is definitely worth a listen.