Warm spirit meets cool tunes on Canadian songwriter’s latest offering.
Allison Russell is one of those names that has become a by-word for quality in contemporary music. Having emerged through bands such as Po’ Girl, Birds of Chicago and Our Native Daughters, she announced herself as a fully fledged solo artist, with the intensely personal yet widescreen Outside Child (2021). This was followed by The Returner (2023) and now her latest release, In The Hour of Chaos.
The title hints at the times we are living through, especially in the current political climate. Her approach, though, is to try to “reverse the tides that pull us farther and farther apart – it is meant to make you feel GOOD and, in these times, feeling good is a radical act” – or so says the press release for the album. So, to what extent is that true?
Well, the good news is, that is actually a pretty good summation of the album. It is both typical of her generosity as an artist, and fitting for the project as a whole, that after opening track Rainbows, the ten tracks that follow have collaboration written all over them, with artists drawn from right across the musical spectrum. Some you will almost certainly know – Norah Jones, Brittney Spencer (of the Alabama Shakes), Sara Watkins (Nickel Creek). Some were certainly new to this writer, but all clearly have an easy air of quality about their contributions.
It is to Russell’s credit that this does not sound like a mish-mash of a compilation, but rather a consolidated work. If there is a general feel of contemporary soul and pop-jazz (this does sound at times like a ‘best of’ for Corinne Bailey Rae), virtually every track nonetheless has its own distinctive mark within, and the sheer quality of Russell’s writing and the overall performances shine through.
There is a depth to the album that will only reward repeat listening, with tracks gradually unveiling their treasures over time. The slinky Two Stars (with Chibueze Ihuoma), is effortlessly summer-cool, while the dreamy Good Omens (with Ahya Simone) is a fantastic closer. Cold April and Black Lavender bring the gospel vibes (albeit in modern settings), while Just Like Saturday (with Ruby Amanfu) sounds like a radio hit.
Indeed, the only criticism of this fine record might be that there is such a level of polish and refinement in the recordings, a touch of dirt or messiness might have been welcome – though to be fair to Russell, that might disrupt the feel of the album. And anyway, there is always the joyous acoustic rush of Love is A Golden Lion (with Devon Gilfillian), which has a catchy, classic, almost 1960’s folk feel to it, and makes a lovely little break in the sound of the record.
So, an uplifting, musically sinuous and welcoming record to add to Russell’s already expansive and impressive canon. Wonderful stuff and thoroughly recommended.
