Drew Gibson defies musical classification
One of the most enjoyably frustrating parts of this job is finding words to describe music that doesn’t fit neatly into a recognizable genre. This has been an especially enjoyable morning, as Drew Gibson’s latest album, Shipbuilder, defies conventional description.
His last critically acclaimed album, 2015’s 1532, was compared to Justin Townes Earle by the Washington Post. That’s a fair cop, but this latest release steps up the complexity quite a bit.
I’ve said many times, and I mean it, that I don’t like discussing one person’s music by comparing it to another artist. It seems lazy and even disrespectful to the artist you are reviewing. At the same time, there are instances when a style is so unique, the best you can do is offer an approximation by citing elements from other broadly known examples, so keep in mind as we proceed that I am in no way merely saying, “Oh, he sounds like this or that band.”
Gibson’s style is so gorgeously unique that the only direct comparison I could make is to Gibson. Of course if you aren’t already familiar with this rising star, that doesn’t do you much good, so let’s look at some common ground between what he has created and some other rather famous performers who clearly share many of the same sensibilities.
Vocally, the album lies somewhere between Mark Lanegan and Bruce Cockburn, with perhaps a bit of Mark Knopfler. In fact, one could take the Knopfler reference a bit further, as Gibson’s excellent finger style playing is in the same class as the Dire Straits frontman.
Relaxed and tasteful, the guitar is far more substance than flash, lending an air of gravitas and reserved cool to the overall tone of the music and complemented by some of the most tasteful steel guitar work you’re likely to hear. The vocals are powerful, but powerful in a low, almost whispering way.
That seems like a paradox, at least if you take “powerful” to mean “loud”, but what I mean here has more to do with tension than volume. Some singers will express their raw emotion by shredding their vocal cords. Gibson, on the other hand, paints an aural picture of a man filled to the brim with raw emotion, using every ounce of his energy to mete it out in careful doses. Powerful indeed.
Beyond that, Gibson’s bio references both country and blues, and the influences are unmistakable but, in my opinion, far from an adequate description; there’s more at work here than those humble but strong foundations. A pervasive steel guitar certainly lends some credence to the country roots, but…the arrangements are nearly orchestral in their complexity and the end product is less country than “if Pink Floyd were country.”
Track seven, “Waitress”, sports a vocal solo at the midway point that plays like a cooler, calmer, more collected version of “Great Gig in the Sky.” It is my personal favorite track on an album that is nothing but outstanding tracks.
Gibson has already caught the attention of critics and fellow performers alike, and each successive album suggests that we’ve only seen the tip of the iceberg when it comes to his genius for lyrics, melody, and musicality.
Drew Gibson will be performing in Chattanooga at the Stone Cup on Frazier on Sunday, June 23rd. The early brunch show (start time is 12:30 p.m.) is free and I highly recommend you stop by and hear for yourself an artist who smolders with intensity.