As much as I champion Zach’s homemade music, I can’t help but wonder how much his writing could have improved if he’d sought out the proper resources. God knows everyone under the sun has either offered or would’ve been willing to help him hone his talents in the months between “DeAnn” and “Elisabeth.” He shows so much potential and natural ability, yet it seems despite the outpouring of support he’s received since he released his debut album, he’s shunned any inkling of desire to want to learn how to actually write, perform, and record his music.
Before I continue. I want to declare my support and admiration for what he’s doing. I thoroughly believe his songs weigh heavy on his heart, and he’s as sincere and earnest in his words as any Prine, Van Zandt, or Isbell you could ever mention. That being said, I believe he writes in a hasty and clustered fashion. For every idea that pops in his mind, he seems to make two or three songs that say the same thing, often using the same phrases, melodies, and vocabulary.
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In the case of Elisabeth. 18 songs could’ve easily been narrowed down to 10-12. I didn’t get into the groove of this album until about halfway through the track list. It wasn’t until “Anita” that this collection felt natural or worthwhile. Furthermore, many of the backing instrumentals sound elementary at best. I’d totally believe it if the percussion in this record was performed by someone who’d never hit skins prior to hitting “REC.”
On the other hand, I liked the harmonica and the piano. I continue to love the authenticity his voice lends to these songs. It’s apparent through this performances that his family and friends mean everything to him. In an era of social media-induced distance, Zach’s latest collection of songs reek of love and physical human connection. I truly wish the best for him. Despite my concerns and criticisms, I bet this album will be in repeat for a few days just like DeAnn was last fall.
Source: https://t-tees.com
Category: WHO
