by Seamus Fitzpatrick
With Sovereign, Rob Moratti delivers exactly what seasoned melodic rock fans hope for from a veteran artist working at full confidence. That is strong songs, big choruses, elite players, and a sound that embraces classic AOR values without apology. It’s not a reinvention, and it doesn’t pretend to be. Instead, Sovereign knows its lane and executes within it at a consistently high level.
The album opens with the lead single “Don’t Give Up on Love,” a smart choice that sets the AOR tone immediately. Built on uplifting energy, clean melodic lines, and a chorus designed to land on first listen, the track establishes perseverance, connection, and optimism. Moratti’s voice enters with assurance, soaring when needed, but never strained. The song is supported by a production that gives his vocals space to breathe while keeping the band punchy and present.
If one track encapsulates Sovereign’s core sound, it’s “Two Hearts.” The combination of steady, crunchy guitar work, prominent keyboards, and wide-open vocal melodies feels like pure AOR architecture. This is big, polished music meant to be immediately enjoyable: memorable figures, clear hooks, and a mix that favors accessibility over excess density. It’s the album’s stylistic thesis statement.
Vocally, Moratti sounds relaxed and self-assured throughout the record. Compared to Epical, there’s an audible ease on this album, making it less about proving range or power, but more about inhabiting the songs comfortably. That confidence translates into performances that feel genuinely fun rather than pressured, especially on mid-tempo tracks like “Can’t Let You Go” and “Waiting,” where phrasing and tone do more of the emotional work.
Musically, the band delivers exactly what longtime fans expect from this lineup. Joel Hoekstra’s lead guitar work stands out across the album, not through flash but through taste. His tone is warm and round, and his solos balance hard-rock pentatonic language with more elegant melodic shaping, serving the songs rather than overpowering them. Tony Franklin’s bass provides a solid, authoritative foundation, while Felix Borg’s drumming keeps everything locked and propulsive. Fredrik Bergh’s keyboards play a crucial role in shaping the album’s AOR identity, reinforcing harmonies and adding width without crowding the mix.
The production is one of Sovereign’s strongest assets. Everything sits clearly on the sound stage, guitars and keys complement, the rhythm section stays tight and supportive, and Moratti’s vocals remain the focal point. The sound is polished without feeling sterile, modern without losing its classic character.
In terms of pacing, Sovereign leans heavily into a consistent palette of tempos and textures. For some listeners, this will make it an ideal full-album immersion with a steady, neon-lit AOR atmosphere that flows smoothly from track to track. Others may gravitate toward selecting two or three standout favorites for playlists or events, enjoying the variety within familiarity rather than the sequencing as a narrative arc. Either approach works, depending on how you engage with the genre.
What Sovereign ultimately offers is assurance. Assurance that Rob Moratti understands his audience. Assurance that the players know exactly how to serve this style. And assurance that classic AOR, when executed with conviction and care, still resonates. It’s an album that doesn’t chase trends, it embraces the AOR sound and delivers a confident, enjoyable listen for fans who value strong melodies, clean production, and timeless melodic rock craftsmanship. That’s the short of it!
