Everyone Is Here is “the Kiwi brothers'...first collaborative studio album in eight long years” (Serck), but only “the pair's second full-lengther” (Pattison). “Alone and together, in and out of Split Enz and Crowded House, New Zealand's most famous songwriting siblings have consistently delivered some of the most memorable moments in troubadour pop” (Gardner).
“Ever since the demise of…popsmiths Crowded House back in the late '90s, [the Finn] brothers…have been content to plough their furrow far from pop's bustling farmstead” (Pattison). “Like a lot of underappreciated virtues, Neil and Tim Finn's expert pop craftsmanship and glowing harmonies are easy to take for granted” (Gardner). Indeed, “the new material may not be as anthemic and infectious as the old Crowded House favourites” (Serck) and “lacks the full production and grand, Beatlesesque melodic ambitions that saw songs like ‘Weather with You’ and ‘Fall at Your Feet’ become transatlantic radio hits” (Pattison). Still, the album “possesses the Finn Brothers' stamp” (Serck), replacing “such scope with a smudged, intimate acoustic style that suits Neil and Tim's songwriting talents almost as neatly” (Pattison).
“Cutting edge music this isn't. The album sounds similar to previous Crowded House material [especially 1991’s Woodface], but without that vital youthful vigour that made those songs so special” (Serck). In fact, “Everyone is Here is produced and mixed by the same people, Mitchell Froom and Bob Clearmountain” (Serck).
“One change that has happened is the lyrics…The brothers are palpably older and have become rather reflective in the process” (Serck). While lead single Won't Give In “possesses the kind of watered-down Beatles melody that we recognise from…Woodface” (Serck), it is also blessed with “shimmering lyricism” (Gardner) and “a delicate melody with a regular dusty beat that will spark a 1000 lighters” (Serck).
The “folksy nostalgia” (Gardner) of the “confessional Disembodied Voices [is] sepia-tinged as Neil Finn sings: ‘Talking with my brother when the lights went out, down the hallway 40 years ago’” (Serck).
”Edible Flowers is a mid-life crisis waiting to happen. Starting off with melancholy violins and a gently discordant piano, Tim Finn despondently sings: ‘Everybody wants the same thing, to see another birthday.’ He then goes on to declare: ‘Taste the edible flowers scattered in the salad days’” (Serck).
“There’s also…the more muscular fervor of All God's Children” (Gardner), “a rocky song with feel-good chord progressions and electric guitars that bring home some much-needed pizzazz” (Serck).
“Luckiest Man Alive is the sort of conscious rock gospel that Stereophonics' Kelly Jones would kill to be able to write, while Anything Can Happen--a billowing, U2-style epic of scintillating guitar and cavernous drum-crashes is seemingly placed to prove that not all is trad chez Finn” (Pattison).
“So there you have it. Melodic and inoffensive, Everyone Is Here is great for background music” (Serck). The “uplifting harmonies float from the speakers as an ideal accompaniment to a lazy, hazy summer's day” (Serck). “It probably won't spawn any MTV-hogging video classics – certainly, that was never the intention – but Finn fans in search of a mellow listen” (Pattison) will find “another trove of unassuming gems” (Gardner).