After more than three decades in the global spotlight as a member of the Backstreet Boys, Alexander James McLean is stepping into a new creative chapter under his full given name. His new album, “my name is Alexander James”, is out now, marking a deliberate shift away from the familiar “AJ” persona and toward a more personal, introspective artistic identity. The album release acts as the follow-up to his recently released EP, titled “hi my name is Alex”.
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Best known as one of the defining voices of one of pop music’s most influential groups, AJ McLean’s legacy includes chart-topping hits, sold-out world tours, and landmark residencies in Las Vegas and at Sphere. Rather than attempting to distance himself from that history, “my name is Alexander James” feels positioned as a complementary statement—one that reflects where he is now, rather than where he has been.
Released on January 9, the album presents a more stripped-back and intentional sound, shaped by experience rather than spectacle. Across the record, vulnerability takes centre stage, with Alexander James McLean favouring emotional openness over polished performance, creating a body of work that feels notably more personal than his previous releases.
The album opens with “Prologue”, a spoken-word introduction featuring Alexander James McLean’s daughters, Lyric McLean and Elliott McLean. The track immediately sets a personal tone, inviting listeners into a more intimate understanding of the artist beyond the public image long associated with AJ McLean. Through their words, Lyric McLean and Elliott McLean speak about their father as both an inspiration and a creative influence, expressing admiration for his singing, dancing, and resilience. Closing with the introduction of “Alexander James”, the track feels like a symbolic handover, positioning the album as a deeply personal statement rooted in family, reflection, and identity.
“Can’t Love You Anymore” follows as the album’s first full musical statement, drawing listeners into Alexander James McLean’s world beyond any preconceived expectations tied to AJ McLean. Built on a rhythmic pop foundation, the track pairs its catchy production with a vocal performance that feels committed and expressive from the opening line. Emotional honesty runs through the song as he reflects on the painful conclusion of a relationship, with the narrator choosing to walk away after recognising that their efforts are never enough and that the love itself has become too damaging to sustain.
Rhythmic pop-rock flows in on track three, “Thinkin’ Bout Us”, leaning into a sound driven by punchy drums, polished pop production, and McLean’s emotive, ballad-leaning vocal delivery. The song’s structure stands out, particularly in its use of repetition within the chorus, building momentum toward a dance-influenced drop that highlights the album’s genre-blending approach. Lyrically, the track centres on remorse and self-reflection, with McLean addressing past lies and mistakes while pleading for another chance, positioning himself as lost yet actively trying to change for the person he loves.
Track four, “Y.O.U”, takes its title from a repeated line on the previous track, carrying that idea forward into a more stripped-back moment. Opening with piano chords, the track introduces a softer pop direction, allowing Alexander James McLean to strip the arrangement back and lean into a more emotional delivery. As the song develops, drums enter to reinforce its pop-ballad structure, giving the track a steady sense of momentum. The vocal performance is a clear focal point, with layered runs and fluid melodic turns delivered with remarkable precision, highlighting McLean’s vocal control and technical assurance. At its core, the song centres on an intense emotional and physical connection, portraying the relationship as vital to the narrator.
Next up is “The One That Got Away”, which leans into Alexander James McLean’s ability to connect with listeners through emotional immediacy. Picking up the tempo from “Y.O.U”, the track blends heartfelt vocals with progressive pop-ballad production, building toward an after-chorus drop shaped around chant-style layered vocalisations. Designed to encourage audience participation, the moment feels particularly suited to a live setting. The song centres on a relationship ended pre-emptively, with the narrator acknowledging his own anxieties and faults, choosing to walk away to prevent future pain while accepting responsibility for the breakup.
The sixth track on the album, “Arizona”, opens with slow piano chords that carry through the song, creating a stripped-back setting that places Alexander James McLean’s vocals firmly at the centre. The performance is notably restrained and vulnerable, with McLean leaning into an emotional power ballad that unfolds with quiet intensity rather than dramatic excess. Drawing on personal experience, the song addresses his journey toward sobriety and self-acceptance, reflecting on the strain of living inauthentically before arriving at a place of self-worth, ultimately affirming that he is “good enough” to be happy.
“Flowers” follows next, introducing a sultry, rhythmic groove that blends pop and subtle R&B influences reminiscent of the early 2000s, now filtered through a more mature lens. While hints of the AJ McLean we know from the Backstreet Boys remain, the track highlights the growth and evolution of McLean as an artist. Vocally, he delivers with confidence and nuance, giving the song a sensual yet heartfelt energy. Lyrically, the track celebrates a woman’s worth, emphasising the importance of recognition and affection—her “flowers”—and wrapping this message in a warm, R&B-pop-infused love song.
Track eight, “Why You Love Me Wrong”, continues with a rhythmic pop sound infused with a distinct early 2000s edge, evoking memories of AJ McLean and the Backstreet Boys. Yet McLean balances this nostalgia with a mature, contemporary style that elevates the track. Layered beats and chords at the opening create a textured backdrop that mirrors the emotional complexity of the song. Over this polished production, McLean navigates a troubled relationship, questioning why he receives secrets and pain from a partner he treats with care, blending vulnerability and self-awareness with his refined vocal delivery.
Continuing the nostalgic ‘00s vibe with a modern twist, the next track, “Body Butter”, delivers infectious pop energy refreshed with a contemporary edge. Alexander James McLean’s confident vocals flow throughout the song, highlighted by a soaring falsetto in the bridge, while the production impresses with a driving beat and playful finger snaps. The song explores physical attraction through food metaphors, adding a flirtatious edge without feeling overtly provocative. Songwriters McLean, Ben Samama, Nikki Flores, and Robert Grimaldi clearly embraced the playful theme, with Grimaldi’s production giving the track a polished, flavourful finish.
The tenth track, “Lovin’ On Me”, kicks off with rhythmic pop beats accented by a percussive guitar pluck, immediately setting a confident, upbeat tone as Alexander James McLean’s R&B-tinged vocals take the spotlight. Brass instrumentation elevates the chorus, giving the track a dynamic energy that highlights McLean’s versatility. The second verse introduces a rap section, injecting pop-infused hip-hop energy and reinforcing the song’s confident tone. The lyrics focus on self-love and personal empowerment, embracing a fresh perspective on life after periods of feeling disconnected or living for others.
Next up is “Kiss Kiss”, plunging into darker pop territory with a sultry, hypnotic energy that immediately sets a hot-under-the-collar tone. Alexander James McLean’s vocals glide effortlessly across the track, full of teasing runs and intimate phrasing that pull the listener into his world. Hand claps and layered drum rhythms give the production a pulsing, almost magnetic momentum, creating a sensual backdrop that invites participation and connection. The lyrics are boldly flirtatious, exploring desire and attraction with suggestive, playful language that places the listener in the centre of McLean’s intense attention, making the entire track feel charged, intimate, and irresistibly steamy.
Track 12, “What You Know About That”, slows the tempo, offering a heartfelt pop-ballad that blends the emotive core of the album with hints of R&B from earlier tracks. A percussive, intricate backing track supports McLean as he delivers flourishing vocal runs and nimble note transitions that add texture and showcase his technical skill—it’s easy to imagine him duetting with JoJo, whose harmonies could match every run and highlight the precision and strength of his vocals. In the second verse, he ventures into pop-rap, reinforcing his versatility and keeping the track dynamic. The lyrics depict McLean promising a woman devotion and a lavish lifestyle, repeatedly questioning what she knows of the depth of love and care he can offer.
“Relapse” follows next, unfolding as a slow-building, classic pop track that gives Alexander James McLean’s vocals full room to shine before the chorus opens into a dynamic, soaring arrangement. Intimate and emotionally charged, the track demonstrates McLean’s mastery of vocal dynamics, knowing precisely when to draw the listener in and when to release powerful, resonant notes. Lyrically, the track explores the struggle of ending a destructive relationship, portraying repeated returns to a toxic lover as an inescapable addiction and questioning how one can break free from such temptation.
The next track, “Echoes”, opens with ethereal, echoing vocals that cleverly reflect the song’s title, establishing a soft-pop atmosphere. A steady pop rhythm carries the first verse as McLean delivers emotional, soulful vocals that immediately resonate. The chorus intensifies this connection, blending heartfelt lyricism with expressive phrasing. Building on the themes of the previous track, the lyrics explore the lingering presence of a former partner, with the narrator haunted by memories and chasing the “echoes” of someone they can’t forget. The production mirrors this concept, with McLean repeatedly singing the word “echoes” softer each time, creating a true echo effect, while the atmospheric outro reinforces the song’s reflective, emotive core.
Track 15, “Sad in the Summer”, reintroduces prominent finger snaps that drive the track’s pop structure and infectious rhythm. The song builds subtly, allowing McLean to showcase his soulful vocals with clarity and emotional vulnerability over a stripped-back, almost-acoustic backing beat. The verses lead seamlessly into a bright, 2010s-inspired pop chorus that bursts with energy before easing back into the understated instrumentation. Lyrically, the track is uplifting and empowering, with McLean encouraging listeners to embrace the sun, enjoy the season, and save their tears for another time.
The penultimate track of the “my name is Alexander James” album is “Better Man”, which continues the album’s empowering momentum, building on the rhythmic energy of the previous track. McLean delivers every line with conviction, his vocals radiating strength and encouragement that draw listeners in. At its core, the song reflects on past mistakes and lost time, with McLean recognising how these experiences, alongside the influence of others, have shaped his personal growth and helped him become a better, more self-aware person.
The album closes with “Epilogue”, a spoken-word piece that mirrors the opening track and brings the project full circle. This time, the voice belongs to Alexander James McLean himself, addressing listeners directly with a message of gratitude and reflection. He thanks those who supported the album’s four-year journey, including collaborators, fans, and even those who doubted him, acknowledging how each played a role in his growth. His words centre on self-belief and self-love, recognising the personal transformation that shaped both the man and the artist, while making it clear that this record is not an ending, but the beginning of a new chapter.
In support of the album’s release, Alexander James McLean will take “Can’t Love You Anymore” to television audiences, beginning with The Jennifer Hudson Show on January 14 and continuing the following day with an appearance on Today. Together, the performances introduce viewers to the album’s more reflective tone, marking a notable moment in this phase of his career.
The launch of “my name is Alexander James” has also been accompanied by intimate listening events on both coasts. In New York, Alexander James McLean celebrated the album’s arrival—and his birthday—at the newly opened Planet Hollywood on 42nd Street, on January 9. A second listening party is set to take place in Los Angeles on January 13 at the Sun Rose Hotel, giving fans and industry guests the chance to experience the album alongside the stories behind it.
Taken as a whole, “my name is Alexander James” stands as a statement of self-recognition rather than reinvention. Across its spoken-word bookends, intimate ballads, and moments of pop confidence, the album captures an artist choosing honesty over performance and emotional clarity over expectation. It is a deeply personal body of work shaped by reflection, vulnerability, and growth. For Alexander James McLean, this album is less about reintroducing himself and more about allowing listeners to see him fully, on his own terms.
“my name is Alexander James”, by Alexander James McLean, is available to download and stream, right now, across all platforms, via Johnny Wright Entertainment.
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