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The use of AI in music is a hot topic showing no signs of abating. When asked his thoughts on an AI-generated set of lyrics created ‘in the style of Nick Cave’, Cave responded “This song is bullshit, a grotesque mockery of what it is to be human,” (read the full response HERE).
Having endured more suffering and loss than anybody should have to, Cave hits the nail on the head when he goes on to add: “Songs arise out of suffering, by which I mean they are predicated upon the complex, internal human struggle of creation and, well, as far as I know, algorithms don’t feel. Data doesn’t suffer.”
With artists such as Cave around, algorithms creating music will never replace the emotions that can be found when an artist wears their heart on their sleeve and forms a connection with their audience. Another artist who unapologetically wears their heart on their sleeve is Grammy-nominated singer-songwriter Beth Hart.
Witnessing a live performance by Beth Hart is much more than just another gig. It transcends that. Spiritual, revealing, flirtatious, confessional, both joyous and heartbreaking; Hart also has the uncanny ability to transfer those emotions into the often cold and impersonal surroundings of a recording studio. And on her latest album, ‘You Still Got Me’, that’s exactly what she does.
If you are intent on “…takin’ the devil down…” then who better to have along for the ride than Slash? On the smoldering, seductive opening track ‘Savior With A Razor’, Slash is at his most restrained and his guitar work compliments Hart’s vocals rather than playing over them in the way that a guest appearance by a guitarist often can. It’s a sizzling way for Hart to begin her first studio album of original material since 2019’s ‘War in My Mind’. Another guest appearance quickly follows on and features the great Eric Gales unleashing his guitar prowess on the boot-stomping ‘Suga N My Bowl’; which is perhaps the bluesiest that the album gets.
You want heavy? Then strap on ‘Don’t Call The Police’ for size. Full of explosions of heavy blues and dark, foreboding strikes on the piano followed by bursts of quiet, with a quiet percussive beat that resembles a heartbeat, the track deals with the reality of growing up black in America. With Hart proclaiming “Don’t call the police…If you wanna live another day” it is a sobering few minutes that are sadly all too recognizable on what seems like a daily basis. The climax with furious guitar work, howls of anguish from Hart, and the sound of a beating heart coming to a sudden stop is a jolt to the system.
Equally as striking in a different manner is the stunning title track, which, had it not been for ‘Don’t Call The Police’, would have been the standout moment on the album. A simple love song to Hart’s husband Scott, it lands with a waltz-like tempo, gushing arrangements, and soaring vocals from Hart. This one will slay when played live.
Where ‘You Still Got Me’ excels is with the variety to be found among the 11 tracks that make up the album. ‘Never Underestimate A Gal’, for instance, is a stripped-back, toe-tapping beauty that features a rolling good-old-boy tempo and vocals from Hart that alternate between spoken style (think Charlie Daniels’ ‘The Devil Went Down to Georgia’) and the range and depth that Hart is famous for. There is also whistling; lots of whistling. ‘Drunk on Valentine’ is primo Crooner, and evokes a speakeasy during the wee small hours; whereas ‘Wanna Be Big Bad Johnny Cash’ is an authentic, twanging tribute to JC – “…when I haven’t got a clue/I ask myself “what would Johnny do?”…” – that is sincere rather than the current trend of musicians “Going Country” since that is where the money is.
Magical and thought-provoking from start to finish, ‘You Still Got Me’ is available now via Provogue/Mascot Label Group, more information HERE.
Beth Hart will be touring the US and Europe throughout 2024 and into 2025. You can get tickets HERE.
UK Shows
28 Nov 24 – Lighthouse, Poole
30 Nov 24- Dome, Brighton
18 Feb 25 – Beacon, Bristol
20 Feb 25 – Eventim Apollo, London
22 Feb 25 – Arts Centre, Warwick
Cover photo credit – Roxanne De Roode
Portrait photo credit – Greg Watermann
Review – Dave
