Lauren Daigle (S/T)
This applauded and awarded songstress has an uncanny ability and track record of singing right through the ribcage of most every audience member, grab ahold of those heartstrings and pull hard.
She wisely put “Thank God I Do” as track number one on this third and self-titled album. It’s a slow and plodding tune that warns the fearful from its very first note on the piano. “I’m gonna grab you (heart), and pull you into a worshipful, desperate, and thankful conversation with God.” That’s exactly what it does. Every verse is thoughtfully and seemingly delivered with a “listen to me, I’m pouring my heart out” cadence. It’s the kind of tune one could start crying as they try to sing along. It carries a theme of, “I’d be lost without You, if I didn’t know You and didn’t have You around,” but “thank God I do.” Call it a hymn of gratefulness or hymn of gratitude.
“Saint Ferdinand” is a fun, almost country off-beat tune that playfully tells a story of a person that makes a heavenly impact on his community. A triumphant yet humble tune that’s really sticky, catchy, and begging for a sing-along.
“New” sounds like it was recorded in a dirty, brick studio in Brooklyn sometime around 1975. Horns, tight drumming, and grooving background vocals deliver a rich soul sound that could get a crowd dancing and shuffling. The harmonies in the chorus are infectious. The varying speeds which Daigle takes on the verses is skillful and crisp, making for a nice blend. The horns are so fun and the sudden ending is trick.
“Waiting” drives further down the deep soul road. This album really sounds like an album this artist wanted to make. Going into the studio to follow-up the mega-successful Look Up Child had to be intimidating. Instead of experimenting or deviating too much from its core sound, it feels like a deeper exploration of where they’ve been scatting and singing all this time.
“To Know Me” settles back into a plodding piano ballad that expresses a deep truth – “to know me, you would have to know my friend.”
“Kaleidoscope Jesus” starts off with some dreamy organ sounds (a Moog, maybe?) that revert back to that inner city black soul of the 70s. It’s so tasty, smooth, and infectious. Anyone that remembers Carly Simon, Roberta Flack, or even War or The O’Jays will feel nostalgic and warm all over again listening to these tunes. I think this album maybe teaches us more about Daigle’s musical upbringing than ever before – or it could just be a reflection of what she and her bandmates have been jamming to these last few years. Either way, it sounds good.
“Valuable” is like a spiritual or musical gift to the listener, like music therapy. Simply put, “you’re valuable.”
Wounds, family-line stuff, whatever it is, Daigle urges us to remember “If you feel like you are not valuable, let me tell you, there’s more.” This simple song perhaps describes this artist’s greatest contribution to us – the audience. While soft and gentle as a lamb, she boldly speaks the truth with the roar and confidence of a lioness. If the mega-hit song “You Say” put millions of self-effacing hearts back on track, this song will reinforce those comforting thoughts.
The title “Don’t Believe Them” sounds like it could be another song that tells us to believe what God says about us and not what the world says. But it’s not that kinda useful therapy-like song. It’s an old-fashioned preachin’ sermon. It starts off with another piano warning: you’re about to cry. But instead of worship, this sound is an exhortation to forgive and listen. The dry, rootsy instrumentation here would feel right at home on an episode of The Chosen.
“How ya gonna love someone if you don’t forgive them?
How ya gonna hear what they say if you never listen?
How ya gonna stand up when the world wants you near them?
How ya gonna live out the words you’re preaching if you don’t believe them?”
I thought Christian rock albums were a thing of the past. While the sonics here are stylistically of the soulful, roots-rock, and pop variety, this is like a mission record. Do you remember those? An album where you’d sit down and actually wonder what this artist or perhaps even God was trying to tell you via song. This is musical edification. Kudos to Daigle and any writing partners she has. These messages are real and they are important. “Ego” finds Daigle preaching to herself: “if ya wanna go high, then ya gotta bow low … I’m done wrestling with my ego.”
“These Are The Days” seemingly tries to wake us up and look around in our present time. It ends with some tasty horns and a rowing chorus of voices.
“Salvation Mountain” features the beloved blues guitar man from Austin, Texas, Gary Clark, Jr., who offers some very sweet call and response guitar leads. It plays like an old-time spiritual, complete with choir-like harmonies.
“Back to Me” is the twelfth track and the album only now tilts past the halfway point if you’re counting song titles. However, tracks 15, 18, and 22 are roughly one-minute interludes that segue between tracks. “Back To Me” could serve as a subtle grooving torch song you might hear in a smoky club (if they still have those). “21 Days” carries on in a similar vibe, conveying some longing that would fit perfectly in a romantic movie.
“Love Me Still” is another slow, emotion-evoking song that reaffirms the steadfastness and faithfulness of Jesus the Savior and God the Father. After some feathery and cloud-like “whooing” from a choir of hummers, “Turbulent Skies” claps and drums in to some male lead vocals. “His love, his love,” Daigle replies, implying that God’s got this, too. Trouble will come, but we have a hope.
“Sometimes” seems to speak faith in the midst of doubt or in the face of just being human. A short piano interlude brings us to “Inherited,” which addresses the person with a “heart that’s all tangled up,” but acknowledges where it all came from.
“He’s Never Gonna Change” sounds like a tune from a church service. “Be Okay” is an assurance that “everything’s gonna be okay.” She hits some Bonnie Raitt high notes in this tune. “Even when your heart is breaking…” The band that comes in later reeks of New Orleans in the best way possible. This is another example of why Daigle has had both her music and message cross over. It’s real. It communicates to real people with real problems, and it’s got a backbone of conviction behind it that reveals the hope inside.
“You’re All I’ll Take With Me” starts off a little jazzy, showcasing Daigle’s silky voice. When she reaches a moment when she declares that she doesn’t want to be lonely, she projects that voice and a lungful of singing comes flying out. Lyrically, it sounds like a summation of what’s important in this life and how this part will end.
This album’s a real treat, showing off great talent, giving off great vibes, emotions, and lyrics with a deep hope. After 74 minutes of tunes, you’ll probably feel closer to the artist musically. For now, returning to track one (“Thank God I Do”) is the most soul-touching and endorphin-receiving moment that shines the brightest. Thank God for Lauren Daigle and her musical companions.
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