Lady Antebellum doesn't quite own 'Night'

For country fans who believe Rascal Flatts rocks too hard, Lady Antebellum appeared five years ago like an adult-contemporary dream, a sweet-singing, fantastic-looking boy-girl-boy trio obsessed with kisses in the moonlight and the things that happen afterward. The Nashville band, famous for 2010's "Need You Now" and subsequent Grammy dominance, spends its third album honing an unobtrusive formula to precision -- beautifully interlocking harmonies plus love songs plus electric guitars plus a requisite change-of-pace rocker ("Friday Night," which has the aspirational feel of Blake Shelton's summer hit "Honey Bee").

Built for relentless repetition on many radio formats, "Own the Night" is mostly midtempo ballads, with understated instrumentation designed to showcase Hillary Scott's unbelievably smooth vocals pitching woo with Charles Kelley's deeper and somewhat grittier tone. (Dave Haywood drops in to flesh out the harmonies where necessary). The lyrics, mostly penned by the band and rotating co-writers, are singularly focused: "We Owned the Night" chronicles a new relationship so exciting it moves Kelley to declare "aw, yeah!"; "Dancing Away With My Heart" dreams of The One That Got Away ("For me, you'll always be 18 and beautiful"); "As You Turn Away" is a dark breakup ballad; and "The Love I've Found In You" is about, well, maybe you're detecting a theme, here.

There's nothing wrong with "Own the Night." It's well-written, pristinely sung and is likely to be a huge hit. But would a little spontaneity kill anybody? Come on, Lady, make a mistake. Hit the wrong note. Knock over a microphone. Something to remind us you're human.

LADY ANTEBELLUM

"Own the Night"

GRADE B-

BOTTOM LINE More smooth adult-contemporary ballads from smash country trio