Musical Thesis: “Good Thing” Leon Bridges
At the center of every album is a musical thesis. This thesis can be the driving force behind the album, a theme that interweaves songs together, or a feeling you are left with after the last song plays. With some albums, the thesis is easy to find. On others, it is hidden and requires you to be more than a passive listener. These reviews are not about rating an album. Instead, it is about uncovering a musical thesis.
You ain't gonna hide who you are tonight
No, take your time
We can move slow, with your hips on mine
Hey, you're so shy
Won't you come 'round here and waste my time
'Cause all that I want is you
Born in 1983, I cut my teeth on the muddy sounds of Pearl Jam and Nirvana. The Dave Matthews Band dominated most of the back half of the 90s for me. A healthy obsession with Jimmy Eat World saw me transition from a small town in Oklahoma to life in college. Band of Horses would kick down the door to a wide world of indie rock; a sound that would consume most of musical tastes for the last fifteen years.
The through line in all these musical evolutions has been a persistent hunger for new sounds, new bands, and new ways of exploring and expressing the human condition. In 2015, this sense of exploration delivered me to the doorstep of Leon Bridges via his song, “River.”
The first time I heard “River,” I was floored. It stopped time and me in my tracks. It forced my immediate attention. In a little over four minutes and some change, I heard something that would have made Sam Cooke smile from ear to ear. Over generations, it seemed like a torch had passed from one singer to another. In an instant, I was converted, baptized even. I needed to know everything about Leon Bridges. Whatever he was selling, I was buying. Even as a lover of indie rock, I felt invited to the party. Once there, I felt welcomed.
In his sophomore album, “Good Thing,” I hear an artist exploring love and its varied phases. From infatuation to flirtation, from love to intimate moments, from commitment to love’s end, and from a place of forgiveness, Mr. Bridges explores all that love can be in this album.
Beyond the lyrics, which avoid a sophomore slump, Leon’s delivery on this album is as smooth as a lake unbothered by wind. He sounds constrained and perfectly matched to the stories buried in each song. While I am sure he possesses a broader range than is demonstrated here, too little or too much would have been unworthy of the picture being painted. Instead, he finds the goldilocks zone and holds on top.
The instrumentation on the album feels like a natural progression from what we heard in 2015’s, “Coming Home.” It is a little funkier, and a little surer of itself, but it also feels like an appeal to a broader audience. Personally, I welcome the invitation to any new arrivals.
Since discovering Leon Bridges, I have spent considerable time with artists like Sam Cooke, Otis Redding, Marvin Gaye, Billie Holiday, and many more. Without a solid entry point, I do not think I would have ever discovered this world on my own. I would not have known where to start. I am so grateful for the journey so far, and I cannot wait to see where it takes me next.
Be good to each other,
Nathan
As a member of the factory, you are taking a stand for human powered creation.
