Her scorching guitar and mischievous lyrics are blissfully intact on album standouts “Down” and “Down and Out Downtown.” Although, it’s the wistful “At the Holiday Party,” a stirring ode to masking one’s misery and feeling seen, that lingers with you long after the vinyl stops spinning. Dressed in faux furs, satin slips and an angular blonde bob, Clark puts a surprisingly lived-in spin on the psychedelic funk and groovy pop-rock of her heroes Lou Reed, Stevie Wonder and David Bowie. Vincent, continues her metamorphosis on exceptional album “Daddy’s Home,” which transports you to the seedy underbelly of 1970s New York. Vincent, 'Daddy’s Home'Īnnie Clark, the musical shapeshifter known as St. Lindsey Jordan expands her sound even as she looks further inward on “Valentine,” the somehow even more breathtaking follow-up to her already immaculate debut, 2018’s “Lush.” Bringing orchestral strings, warm synths and folk guitar into the fold, the 22-year-old indie rocker takes us on a cathartic journey through heartbreak and addiction, with a guttural title track that demands to be experienced live. It also features some of the foursome’s most intimately personal and poetic lyrics to date, achingly delivered by frontwoman Ellie Rowsell on tracks including “No Hard Feelings” (“The threads that kept us together / were already wearing thin / Would we ever have tied the knot / well, how long is a piece of string?”). The Londoners employed mega-producer Markus Dravs ( Coldplay’s “Viva La Vida”) for their biggest but no less brilliant new album, which volleys between growling grunge rock and piano-assisted power ballads with equal dexterity. When the world feels suffocating, give a listen to “Stay Gentle,” exhale and take heart in Carlile’s message: “Don't let the world make you callous/Be ready to laugh/No one's forgotten about us/There is light on your path.” Patrick's picks: 5. “You and Me on the Rock” – the frolicking acoustic guitar and harmonies both rootsy and angelic – is a sweet valentine to her wife, Catherine Shepherd, while on “Broken Horses,” her gorgeous voice unbridled, she evokes early Melissa Etheridge. Carlile wrote her seventh studio album during the early days of the pandemic and they’re stocked with underpinnings of apprehension, pensiveness, looming loss and, ultimately, hope. From the moment she utters the opening lines of the poignant piano ballad, “Right on Time” (“Come back now, even if you call me out/You might be angry now, of course you are”) prepare for a deeply emotional journey. A student of ‘70s songcraft – her affection for Joni Mitchell and Elton John are well documented – Carlile writes like a poet, but delivers her creations with relatable reflection. Lil Nas X, 'Montero'Īgain and again, Carlile’s purity – as a singer, a songwriter, a musician, an artist – is its own captivating element, an intangible soulfulness that burrows its way into your heart. Piano Man 'grateful' for young artists: Olivia Rodrigo, BTS namecheck Billy Joel 2. But then Rodrigo lands the aircraft softly with “Favorite Crime” and “Hope Ur OK,” reminding us that she’s still only a tenderhearted 18 year old.
Other hits “Deja Vu” and “Good 4 U” showcase her affinity for guitar riffs, while “Jealousy, Jealousy,” snakes into your head with a sinewy bass line. Of course, most of the joy in discovering Rodrigo is her knack for tapping into teenage angst, both lovelorn and fury, starting with the opening “Brutal,” a blast of punk-pop guitar and the unabashed declaration, “I’m so sick of 17, where’s my (expletive) teenage dream?” While Rodrigo – nominated for seven Grammys – plunked into public consciousness with “Drivers License,” a classic love triangle set to simple piano that also possesses a killer bridge, she’s positioned herself to evolve into a feisty little rocker with heart.
In a mere 34 minutes spread across 11 songs, the young Disney star sprints through a gamut of emotions with the kind of force and honesty rarely seen in artists twice her age.
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