I’ve enjoyed lots of classic singer-songwriter fare this year, maybe more than in several prior years combined. While I don’t have a clear answer, it has been a fun mystery. Did my brain subconsciously needed the introspective and thoughtful lyricism? Are my ears seeking familiar sonic motifs instead of experimental soundscapes? Might my tastes be entering their next evolutionary phase?
Whatever the reason, it’s been a year of good music – and the streak continues with Reno McCarthy.
Based out of Montreal, this young songsmith has penned an impressive new album entitled Run Up River. Released on the Canadian label Balustrade, it’s a collection of 10 songs that speak to the yearning, frustration, and confusion of young love. Sure, that’s familiar lyrical ground in the overarching history of pop music, but McCarthy imbues it with a smooth freshness that I found very appealing.
The overall musical direction can easily be described as blue-eyed soul. Sensitive crooner vibes rest comfortably atop a bed of new-school pop, folky sensibilities, and funk-inflected style. Harry Styles and Shawn Mendes make for easy comparisons, but the fluid yet kinetic production call to mind the work of Bruno Mars and Anderson .Paak.
Reno McCarthy has clear, approachable tenor vocals, and he sings from an earnest core.
It’s a joy to hear a singer seek out an intimate connection but do so without pleading desperation. He doesn’t project any cliched rock star affectations, but he definitely has the confident delivery you want in a relatable pop star. His delivery also leaves room for air without dipping over into affected minimalism or downtempo slow jams.
I’m especially enamored with the effortlessness of the instrumentation. The clean guitar fills warm you up while never dominating the mix. Superb drumming with a penchant off-kilter syncopation keeps the tunes on track with ample personality. Delicate keys and thick bass round out the pleasant listening experience, especially in terms of their textured movement. Everything about this album feels light and effervescent, but there’s a hidden level of aches and pains that give the project its strength.
“Trigger” struts into your ears accompanied by a snare sitting just behind the beat. Surrounded by scratchy funk guitar and warm mellotron chords, McCarthy has a one-sided conversation with a lover about what would happen if they got together. My favorite tune on the album, “Sundown” centers on sumptuous, yearning vocal while a creeping R&B rhythm section dances with a shimmering pop guitar.
With “Nothing Less, Nothing More,” the project’s pacing reaches its nadir, as McCarthy channels the sexy angst and spectral desperation of The Weeknd to maximum effect. The album reaches a clear-eyed conclusion with “Century Gothic.” It’s the sonic equivalent of the singer rising slowly from slumber, coming to grips with his lonely nights and bad decisions, and striding out his door to make better choices.
The hidden joy of Run Up River lies in its rich layers.
On the surface, this could be merely a pretty good pop album from a promising young singer. When I started to dig deeper, I found that Reno McCarthy possesses a stirring ability to weave sounds and ideas with fluid purpose. The cohesive musical production features tight musicianship and organic arrangements free of excessive showmanship. Instead of overwhelming the listener with savant-like abilities, he sits down calmly and invites you to be an equal partner.
Singers like Reno McCarthy can grab your attention with their talents and then hold it with their personality and presence. Maybe that’s been the appeal of vintage folk and pop artists for me this year. It’s been about people with defined ideas about how their music and words work together. They give you what the song needs, fold in some sensuality and romance, and allow subtlety to reign supreme. It’s a palpable penchant for personal connection, and I’m really digging it these days.