Leon Bridges, “Leon.”

Leon Bridges’ 2021 album, Gold-Diggers Sound, expanded on the soulful feeling of his first two records with some new electronic elements, making for an exciting and fresh body of work. With his new self-titled, Leon, though, he’s returned to the more traditional sounds of his first few records, this time with a newfound sense of wisdom and fulfillment as well as an acoustic sound more sharply refined than ever before.

The piano chords that open the album on “When A Man Cries” seem to be weeping themselves, with a rich intensity that immediately silences the outside world. Some acoustic guitar plucks allow the song to gradually build, but it really picks up when percussion kicks in a bit after the two-minute mark.

His tender, soulful voice fits right in on the sorrowful track—and on just about every other track. He’s never boring yet never excessive in his delivery, full of subtle yearning and impressive runs.

“Cadillacs, blue denim/ Making love on a beach in the morning,” Bridges sings on “That’s What I Love,” before continuing to list more joys in his life in the same vein as Bruno Mars’ hit “That’s What I Like.” His specificities, like “I love how she flies like a bird,” make the list of delights worthwhile, accompanied by whimsical beds of orchestral strings.

Single “Laredo,” with laidback guitar strums, ornate woodwind embellishments and a unique Latin influence, is a standout not for making any sort of bold statement but rather for nailing all the best aspects of Bridges’ relaxed style—and for its infectious hook.

“Play me something downtempo/ Low-key and rocksteady,” Bridges sings in the chorus, both part of his narrative but also an accurate description of “Laredo” itself.

On “Panther City,” he reflects on his love for Fort Worth, Texas, where he was raised. Along with some pitter-patter percussion and a modest guitar solo, Bridges’ signature simplicity aids his storytelling. “All the crackheads and prostitutes on Rosedale/ My father said go straight home,” he sings, never erasing the grimier parts of his city but still making clear his affection for the place he calls home.

Maturity and satisfaction continue to shine through on the warm, Jack-Johnson-esque “Ain’t Got Nothin’ On You” and the celestial “Simplify,” the album’s first full-on ballad.

Bridges’ music is consistently serene without ever losing any sense of emotional intensity, and its combination of new and old soul elements with authentic performances renders each song seemingly timeless.

“Peaceful Place,” which picks up with a fun drum pattern but still manages to maintain the album’s consistent serenity, paints a picture of Bridges singing from a state of pure bliss. His delivery is saturated with soul and comfort. When he sings, “I’m in a peaceful place,” you can tell he truly means it.

The casual twang on “Can’t Have It All” makes the record’s constant country-tinged strums more overt, in the form of a tranquil ballad made for peaceful drives or sunbathing in a hammock. “The clocks laughing in my face/ Sounds like you ain’t gonna call / But you can’t have it all,” he sings. It’s melancholic and raw, with a sense of lingering pain and remorse, but it’s also mature and at peace.

“Ghetto Honeybee” takes an unexpected turn beyond the previously explored sensuality: “I wanna feel your sting/ Your body on my body’s where you belong/ Let me whisper freaky things on the phone.” Some of the word choices (“freaky”) feel awkwardly out of place in the context of this mature record, but besides those few surprising moments, his awed outlook on making love fits well and sounds sticky-sweet.

After songs with lots of guitars, closer “God Loves Everyone” returns to the simple piano accompaniment of the first track, fading in some cinematic strings at the end. Simple and heartfelt, it’s just the right way to end the record.

The album serves as a defining statement for what Bridges does best—guitar-driven soul with vocals like butter and an appreciation for the small joys in life. It’s exactly what a self-titled album should be.