Jett Holden – The Phoenix
Songwriting is a vocation that is, by its very nature, often done alone, to be shared only later. That sharing, though, naturally requires a group – the writer and the audience, but also (usually) other musicians, as well as whoever was involved in the recording process. What starts as a solitary activity ends up involving – requiring – an untold number of people. Jett Holden addresses this sort of dilemma on his debut album – is it better to be alone or amongst uncomfortable company – but the process of creating The Phoenix necessitated a unique community approach. The album is the first release from Black Opry Records, the natural outgrowth of The Black Opry, a collective founded by Holly G to support and promote Black artists in country and roots music. Turns out, the organization provided Holden with the push (and the people) he needed to keep pursuing his musical career.
For us listeners, Jett Holden’s story begins with Holly G finding a piece of a Holden song online and securing him a grant (through Rissi Palmer’s Color Me Country Artist Fund) to finish writing and recording the song. “Taxidermy,” a fierce indictment of “supporting” a cause for the clicks it brings, begins as an acoustic lament before Holden’s powerful vocals escalate it to pained outrage – “I’m not a martyr/I’m not a headline for you morning news report/Or a political debate you can retort.” Most affecting, though, is Holden turning this anger into support – “You are far too bright a soul to extinguish/So hold on, hold on” – for those whose struggles, often unseen, are not a cause célèbre, but a very real personal battle for survival.
The issue of what’s better for one’s health – being alone or being part of a less-than-welcoming group – has been a constant question for Holden, a queer man living in the South. The pensive “Scarecrow” recalls Holden’s coming out to his Jehovah’s Witness family as a teen. He alternately pictures himself as characters from The Wizard of Oz, questioning his brains and courage, wishing he had “no heart to break.” Truth be told, coming out did involve a fair amount of leonine courage, as Holden admits that “Sometimes, it’s better to be miserable than lonely” – maybe family, the people who know you best, will someday come to accept you. On the other hand, loneliness is sometimes the only good option, if only you can convince yourself. The break-up ballad “Better Off” finds a kernel of truth in its romantic bitterness – “Love is bullshit/Because the more you give/The more it hurts to lose it.” But, as the music builds, realization sets in – “Perhaps I’m just delusional for trying to hold on/Or maybe I’m better off alone.”
When being alone isn’t the answer, Holden does find comfort in both family and love. “West Virginia Sky” is the kind of 70s-tinged story-song you don’t hear much anymore. Over acoustic guitar, piano and pedal steel, Holden flashes back to autumnal visits to his grandparents’ home and imagines a mythical origin for the fall colors – a husband (the sun) watching over his dying wife (the phoenix) – “He rises in the east to see that everything has changed/Her feathers fell away from all the chemo that she takes.” And the album’s first single, “Backwood Proclamation,” is a Southern rock jam that manages to find love and home together. Backstopped by Charlie Worsham and John Osborne on guitar, Holden drops his fear and reservations – “Call it my backwood proclamation/Sent my black book on vacation.” It’s an unabashed love song, but it’s also finding comfort and purpose in welcoming someone else to his life. Loneliness ain’t all it’s cracked up to be, especially when you’re finally surrounded by the right people.
Song I Can’t Wait to Hear Live: “Karma” – featuring Cassadee Pope on vocals, this rocker approaches 80s metal territory while relaying a friend’s take on the titular subject – “If you think karma is a bitch/Then the truth is/That you may be a bitch yourself.” Holden’s influences aren’t restricted to roots music, which makes this one a bitingly fun listen.
The Phoenix was produced by Will Hoge, engineered and mixed by David Axelrod and mastered by Shelley Anderson. Musicians on the album include Chris Powell (drums, percussion), Kyle Whalum (bass guitar), Kris Donegan (electric & acoustic guitar), Philip Towns (piano, synthesizer, keyboards), Ellen Angelico (pedal steel guitar), Charlie Worsham (electric guitar), John Osborne (electric guitar), Roberta Lea (background vocals), Denitia (background vocals), Cassadee Pope (background vocals), Emily Scott Robinson (background vocals), David Axelrod (electric guitar, synthesizer) and Will Hoge (background vocals, acoustic guitar, electric guitar, piano, keyboards, percussion).
Go hear to order The Phoenix (out October 4): https://blackopryrecords.myshopify.com/
Check out tour dates here: https://www.blackopryrecords.com/jett-holden
