New Zealand singer-songwriter returns after an 8-year hiatus with an album of two parts.
Gin Wigmore is something of a star in her homeland of New Zealand, although she has spent 13 of the last 15 years in the USA. She rose to prominence in the late 2000s following the international recognition that accompanied the success of her song Hallelujah, written in the aftermath of her father’s death. In 2009, she released her debut album, Holy Smoke, at the age of 23, to critical acclaim. It was an instant success in New Zealand, where it reached No. 1 on their charts, introducing a singer-songwriter with a raspy, gritty voice who delivered roots rock with some bluesy and occasional folky elements. Three more albums followed between 2011 and 2018, all regionally successful and well-received.
Wigmore had, during that period, returned to the US to run a hotel that she renovated with her new husband, punk musician Jason Butler. They had two children, but the marriage did not last, “no more compassion left for each other” after an emotional burnout, not helped by COVID restrictions, and they divorced. In 2024, she returned to New Zealand with her children to reconnect with her roots and opened a deli in Auckland.
And now we have Beautiful Mess, after an 8-year hiatus and recorded during a week’s stay in Palm Springs, an album of two halves initially delving into a form of catharsis (Beautiful), with countrified pop songs and gentle ballads, examining her unsettled life and exploring her sense of self as a result of the tumult in her life. The second half is an altogether different kettle of fish, with brash rock numbers and quasi-blues, often taken at a breathtaking pace, which seem to enter Janis Joplin territory vocally and fuzzy retro rock guitars in the instrumentation (Mess)
If you are not used to it, Wigmore’s voice comes as a bit of a shock; gritty, think of a raspier Paloma Faith but in a rather higher register, or Elle King in blues-rock mode. On the more reflective songs dealing with marriage breakup, heartache, self-discovery and ultimate acceptance, she can sound a little like Stevie Nicks, with a passionate attack on the emotional lyrics. And there are some lovely tracks, such as the lilting ballad Hollywood, driven by acoustic guitar and tinkling piano with a backdrop of strings. Lyrically, this speaks to the difficulties of being far away from her home; “Mama / I feel so far away from you in LA / Postcards / Never seem to get to you in time”, and associated loneliness “Don’t you worry I won’t lose myself”.
The single Country Diamond kicks off the album with a lively pop-country vibe, with lyrics reflecting on her past, followed by Our Street, which looks back on youthful experiences and reminisces about returning to a past, as it moves from a piano-backed start to a chorus driving a powerful finish. Tip of my tongue is more reflective against an acoustic backing with subtle organ behind the guitar. “When the sea gets rough / You gotta drown before you learn / There’s a fire in our house / Sometimes it’s best to let it burn”. There are some lovely choruses throughout this first side, most notably on the emotional but rather lovely and cinematic Die on the Porch, featuring some great 70s-style la-la background vocals.
On the Mess side of things (Side B if you are buying the vinyl version), the title track, all fuzzy and reverbed guitar, switches things up into heavier rock territory, while Stuck Inside a Dream is an almost anthemic look at the disintegration of her marriage and the chaos of her life, on returning to New Zealand. Rodeo is another heavy, fuzzy, guitar-driven rocker about being out of a relationship. I Like It is an out-and-out rocker and tells with humour about dating anew, while the closer, the even faster, Here Come the Girls is rather retro, with a nice tune in the verses but less so in the choruses and, like a couple of earlier tracks, with a very abrupt end.
Wigmore’s lyrical honesty is to be applauded, but the closing few tracks veer well away from the pop-country americana of the first half, and into the retro rock of the New Wave girls like Joan Jett and Cyndi Lauper. The concept is refreshing and clearly intended, and you would expect long-time fans to react positively to it. New listeners may find the musical divide will take more time, but will be rewarded with an album that has much to explore.
