“Old friends, old lovers, some records skip more than others. It’s the same song that we’re all looking for, to be nobody’s stranger anymore.” – Trent Dabbs, ‘Nobody’s Stranger Anymore’
Some records take you to your happy place. As soon as I pressed play on Trent Dabbs’ new album ‘Believer’ and the opening track ‘Nature of The Beast’ began its mid-tempo shuffle in a swirl of reverb-induced atmosphere, ethereal vocals and doleful pedal steel, before breaking off to indulge in the sweet sound of old western harmonica, I was hooked. Trent is known primarily for co-writing with the likes of Kacey Musgraves (‘Undermine’) and Ashley Monroe (they recorded an album together), as well as penning songs for ABC’s Nashville, Ingrid Michaelson, Matt Wertz, Matthew Perryman Jones, Mat Kearney, Joy Williams and Dave Barnes, among many others, but he’s also released nine albums of his own. When I approached ‘Believer’ I had only heard his co-writes, so I had high hopes but was not sure what to expect.
What happened next however, was both unexpected and pure magic. This nine-track record is set in a delirious whirl of emotions and intoxicating sounds, floating somewhere above the ground while remaining tightly reined in so it can’t blow away. It is beautiful in the way that only a delicate mix of folk, Americana and country can be, with Trent’s unassuming soulful, husky vocals gently taking our hand and guiding us through love and life in a way that resolutely captures our attention. Often this kind of music can fade into the background for its simple goodness and ability to be a soundtrack to relaxing activity, but although ‘Believer’ can do that easily, its attention to varying arrangements (within its chosen style) and gorgeous melodies make this a gem in a sea of rocks. At times he has the calming delivery and introspective lyrical prowess of Jamie Scott & The Town (Jamie now writes for the likes of One Direction, but at one time he was making killer alt-pop music), while at others our getting lost in a harmonica-and-guitar-fuelled musical ocean recalls John Mayer’s 2012 album ‘Born & Raised’, an Americana masterpiece.
But really, Trent is his own artist. He has proved that he can write great pop, country and alternative music previously, but this album takes things to another level. He hints at a rockier strand of influence on the more up-beat folk rock ‘Make A Believer’, and leans toward an old country/rock ‘n’ roll style on ‘World On Time’ (featuring perfect harmonies from Rebecca Walker), but he shines the brightest when he strips things back to allow the melody and poetic lyricism to come to the fore. ‘Goes Without Saying’ is a beautiful piece of art that continues to give me chills (and tears) upon every listen, while ‘Nobody’s Stranger Anymore’ manages to touch me with its words in a way I’d forgotten was possible.
It’s clear he’s not afraid to delve into deep emotions and the darkness (and light) within, as in addition to carefully-orchestrated love stories (‘To My Girl’), Trent also tackles death, loss, and the meaning of life on the heart-stopping ‘Here On Earth’ and born-again Christianity on the incessantly catchy ‘For The Grace of You’. In fact, faith and belief seems to have inspired much of the writing on this record, a sense of wonderment at the world juxtaposed against celebrations of God’s love, dealing with the passing on of a loved one (‘Say No More’), and more Earthly gratitude and love for a partner that can still be traced back to belief in God’s plan. Yet, it is neither preachy nor religiously heavy, as myself identifying as agnostic/atheist I can appreciate his conveyed emotions and identify with them on my level. He doesn’t exclude those who do not believe the same things he does, because although often faith is the subject of the song, it remains gently out of focus in the frame the whole time. There are other stories, messages and sentiments to be taken from here.
It’s simply a fabulous sounding record, there’s no doubt about it. I listened on repeat for almost an entire day, and I did not get tired of it. And every time those songs came back round, I found a new connection with and appreciation for every individual lyric. There is more to discover, there is more to feel.
One of my albums of the year.
