A Grammy nomination for Best New Artist. The double Platinum certification for his album, Stick Season. The accompanying two-year tour that’s grown to resemble Taylor Swift’s unending Eras Tour.

Kahan’s rise from obscurity to acclaim is slightly odd considering his background. Born in a small town with less than 2,000 people, Kahan’s upbringing was relatively quiet, simple, and normal–at least to him.

Kahan has cited his family as the primary influence on his personality and his music. For Kahan, conversations at family dinners shifted from the latest Boston Red Sox game to how to cope with depression in the brutal winters of the Northeast, or “stick season” as it is referred to by its residents.

Stick Season (Forever) captures the essence of storytelling: tragedy, heartbreak, and the search for hope.

His popularity is in part due to the nostalgia his music awakens for fans of folk music. Rather than incessantly trying to be cool, his songs are painfully honest and, at times, brutal in their transparency.  

As he relays his personal battles with depression and anxiety, his methods of coping include binge drinking, getting high with friends, drunken fist fights, and lonesome nights with lovers. And at the height of his success, Kahan is finding that his problems and questions haven’t gone away.

POSITIVE CONTENT

As his career has developed, Kahan channeled the conversations he had as a kid into his music. He credits his family’s openness about mental health as a driving force behind not only his lyrics but the proceeds of his concerts benefitting mental health organizations.

The fingerprints of his support for mental health services are dotted across the entire album, especially on such songs as “Orange Juice,” “Growing Sideways,” “Homesick,” and “New Perspective.”

In interviews, Kahan has shared his struggles with sobriety, medication, and his personal mental health. He’s sought professional help and found release through making music. Even though some lyrics feature his characteristic anger and bitterness, there are also glimmers of hope and compassion.

At times, Stick Season peels back the curtain on Kahan’s relationships to reveal his growth, such as when he says, “It’s okay, there ain’t a drop of bad blood / It’s all my love, you got all my love.”

“Everywhere, Everything” features a deeply dedicated version of Kahan as he sings, “I want to love you till we’re food for the worms to eat/till our fingers decompose” emphasizing the unbreakable bond of his love.

Aided by voicemail recordings from family members, “The View Between Villages” is Kahan at his most transparent. He’s returned to the place he grew up and reflects on how much he’s changed as well as the people and places he once knew so intimately. Through the song’s emotional swells, we feel Kahan’s pain but also his hope at second chances.

CONTENT CONCERNS

The title track, “Stick Season” serves as the thematic statement for the album. In this song, Kahan telegraphs the hopelessness and anger that persists in his life. He smokes weed, he gets drunk, he comes home for Christmas expecting his friends to help him. He’s clearly hurting, and his version of solving his pain is futile.

Stick Season (Forever) is the extended version of Kahan’s original album. With an additional 16 songs, the album balloons and features a lineup that would rival the 1965 Newport Folk Festival. Kahan re-records several songs with popular artists such as Post Malone, Gracie Abrams, Hozier, Kacey Musgraves, Brandi Carlile, and Gregory Alan Isakov.

Several of these new versions of his songs feature additional verses by the accompanying artist with added concerns.

In “Dial Drunk,” Post Malone contributes the line, “F— that, sir, just let me call” when talking to a police officer who has arrested him for participation in a drunken fight at a bar.

In “Northern Attitude,” Kahan and Hozier sing about their unabashed commitment to stereotypical Northeast behavior such as, “getting stoned” and “getting lost, getting high.”  

The songs: “Come Over,” “Orange Juice,” and “Growing Sideways” make up a trio of reflections on sobriety and addiction.  There are references to misusing medication originally prescribed for depression and relying on alcohol to soothe one’s pain. In a moment of honesty, Kahan sings, “feels good to be sad” and “So I took my medication and I poured my trauma out.”

He continues to describe trips to visit his therapist saying, “We argued about Jesus, finally found some middle ground” and “I divvied up my anger into 30 separate parts/Keep the bad sh-t in my liver and the rest around my heart.”

For Kahan, there are three responses to his trauma: fight, medicate, and ignore. Usually in that order. The album mirrors this pattern. Songs about his fights for meaning are bookended by songs about the futility of medicine as a salve. And that eventually leads to songs where he ignores his pain altogether in a last ditch effort to make it all go away.

The cyclical nature of addiction and loss isn’t something reserved only for Kahan. Several songs, such as “You’re Gonna Go Far” and “Call Your Mom” serve as conversations between Kahan and his various partners sifting through the remains of their relationships. As they accuse each other of failing, fall in and out of love, and navigate their vices, they ultimately realize that there’s more than enough blame for each of them. 

“Your Needs, My Needs” touches on the haunting guilt of watching someone you love wither away in the wake of their excess and painful lifestyle. Kahan visualizes his former love as a ghost slowly dying, “To see a friend, to see a ghost/bitter-brained, always drunk/rail-thin, Zoloft/subtle change, shorter days.”

Across the album there are several uses (and variations of) the s-word, as well as instances of of misusing God’s name.” There are also several references to sex such as “we’d shake the frame of your car” and “There was heaven in your eyes/I was not baptized.”

ALBUM SUMMARY

I didn’t have to look hard to notice it.

I was at a Noah Kahan concert in Colorado. The audience was typical for a folk show; men and women on dates, college students, fathers with their daughters, mothers with their sons all dotting the concert hall.

Yet, in pockets of the room, I saw dozens of grown men softly crying. Their emotions stirred by something unspoken beyond Kahan’s lyrics and performance.

Fervent listeners of Kahan are drawn to his music through his shared language of how we deal with anxiety, loneliness, being homesick, going through breakups, and self-destructive tendencies. These and more make up the common experiences of Gen-Z and Gen-Alpha, which happen to be Kahan’s primary fanbases. 

In my opinion, most of Kahan’s songs contain enough nuance and self-referential mythology of depression and anxiety that would go over a middle school or high school student’s head.

That said, as Kahan would likely agree, words have power. These songs are deep pools of reflection. A caution to any listener that diving too deep could unintentionally trigger strong emotions if you personally struggle with depression, anxiety, anger, or broken relationships.

Stick Season (Forever) poses other problems too. The songs commend behavior that searches for blame other than ownership. Whether it’s a failing relationship or an addiction, Kahan’s worldview is centered on pointing the finger rather than looking in the mirror first.

The lasting images of Kahan’s album are the symbols of nature and the seasons of change. After all, “stick season” isn’t intended to last forever. Each year, spring will arrive and with it so will the promise of change and new seasons.

But what if it doesn’t?

Kahan’s made it clear that he’s entrenched in his past and bound to his mistakes. If we’re not careful, we’ll become just like Kahan, trapped in our own stick seasons forever.

But his music—and perhaps the nature of music—holds out hope, too.

After the show ended, I couldn’t help but notice the way people left the concert. They were together. I’m not sure how each person entered the concert, but no one was leaving alone. What Kahan had done brought these people closer together. There were arms after arms wrapped around each other as groups split up under a Colorado moon.

Music will do that sometimes. Give words to the indescribable feelings of pain. Though, as Kahan would likely be the first to say, the feelings of relief and reprieve after a concert rarely last. In a few hours, you’ll be left searching for something meaningful all over again.

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Now let me add another young woman’s name to that burgeoning list: Gigi Perez.

This 24-year-old singer-songwriter’s path in some ways mirrors many who’ve gone before her. She leveraged her huge TikTok following into a contract with Interscope, a major record label.

But then a curious thing happened: She decided she’d like to go back to just releasing music herself, independently.

One of her latest efforts, “Sailor Song,” proves that you don’t need a major record label to be successful, as the track has had nearly half a billion streams on Spotify alone and climbed as high as No. 7 on that streaming outlet’s main singles chart.

I think it’s also safe to say that Perez has a unique sound. Armed with an acoustic guitar and an ethereal voice, Perez sounds more like Bon Iver than the women listed above, with distant echoes of something like The Beach Boys lingering further back in the sonic haze.

Though Perez says she spent some time in a Christian school, this song expresses her disbelief in God now. Perez is also openly gay, and romance (and more) chronicled here is obviously one between two women.

POSITIVE CONTENT

We hear that Perez’s mother is concerned about her wellbeing: “My mom says that she’s worried.”

CONTENT CONCERNS

“Sailor Song” describes infatuation at first sight that quickly moves into a sexual relationship: “I saw her in the rightest way/Looking like Anne Hathaway/ … And then, she came up to my knees/Begging, baby, would you please?/Do the things you said you’d do to me, to me.” While not explicit, those lyrics—and others like them elsewhere in the song—carry an erotic charge and leave little doubt about what’s happening in this relationship

The same-gender aspect of the song is clear when Perez sings, “She took my fingers to her mouth.” And the singer also adds, “And when we’re getting dirty, I forget all that is wrong.”

Perez also says bluntly that she’s rejected God and is now seeking salvation in sex and romance: “I don’t believe in God, but I believe that you’re my savior.”

TRACK SUMMARY

Looking for identity and meaning in sexuality is hardly a new thing. What has become much more frequent the last few years is the number of musicians, both men and women, singing openly about same-gender relationships and sensual encounters.

That’s what Gigi Perez gives listeners in “Sailor Song”: an unabashedly sensual song about connecting physically with another woman.

Just as we saw in Chappell Roan’s story and heard in her music earlier this year, Perez seems to have had some experience with Christianity before rejecting it—and saying no to belief in God, too. Instead of seeking a relationship with God that leads to redemption, she’s looking to sexual intimacy to provide transcendent meaning in life.

Kids growing up today are bombarded with messages like Perez’s when it comes to God and sex. The culture is having an ongoing conversation about these issues –every single day—one in which individual autonomy and emotions trump nearly everything, including faith.

The question we face as faith-guided parents, grandparents, youth leaders and concerned adults, then, is this: How do we enter into that conversation, too? It almost certainly won’t be comfortable. And there’s likely not a one-size-fits-all answer.

But our children need our voice and our listening ear, too, if they’re going to encounter grace and truth that are bigger than a momentary feeling or experience.

I don’t know what Gigi Perez’s experience of God was in the Christian school she went to. But I wonder if she had someone who was genuinely willing to hear her, to be present with her, to ask hard questions and to engage in authentic dialogue with her. I wonder …

She’s having that dialogue now with millions of kids. And we need to be willing to step into it with the ones we know and love as well if they’re going to hear a message of salvation that’s bigger than sexual identity or experience. 

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The term “stick season” refers to the period between the vivid foliage at the end of October and the soon-to-arrive first snow of winter, when leaves have fallen and bare trees line the small towns.

When asked to describe this time of year, Kahan said, “It’s a time of transition, and it’s super depressing.”

Written and released in the twilight of the COVID-19 pandemic, “Stick Season” gradually became a rallying cry for those who found themselves transitioning to and from quarantine. And aided by TikTok, Kahan’s hit single soon developed into a streaming anthem.

Kahan’s ascension can be traced back to the success of “Stick Season,” which highlights the singer’s personal struggles with cycles of depression, alcoholism, and family strife. Kahan spends the majority of the song searching for the perfect coping mechanism to dull the pain of the season following the memories of a painful breakup.

The nostalgia of his hometown and the anguish of his failed relationship meld together to produce an appealing folk song, though Kahan’s attempts to solve the problem of finding purpose following his recent breakup often lead to more pain rather than the erasure of it. 

POSITIVE CONTENT

On some level, Kahan realizes the role he played in the destruction of his relationship, singing, “And it’s half my fault, but I just like to play the victim.”

This connects to his earlier admission that some of the blame should be placed on him for how things ended. “Now I’m stuck between my anger and the blame that I can’t face.”

Kahan’s growing realization of his role in the relationship balloons into what is perhaps the track’s most poignant lyric: “So I thought that if I piled something good on all my bad/I could cancel out the darkness I inherited from Dad.”

It’s clear Kahan has committed significant time to working through his role in this situation. Elsewhere in interviews, Kahan is quick to mention the amount of therapy he’s received to unwind the past trauma of his depression and his family’s trauma.

CONTENT CONCERNS

Two of the primary depictions of Kahan’s attempts to ease his pain appear throughout the song. Of the memory of his breakup, Kahan sings, “And memories are something even smoking weed does not replace.”

Later, Kahan muses on the loneliness he feels during “stick season,” saying, “I’ll drink alcohol till my friends come home for Christmas.”

Kahan also hints at an underlying sense of anger he feels toward his ex and how things ended, which is set against the backdrop of his nightly dreams of the memories of this relationship.

TRACK SUMMARY

“Stick Season” and its subsequent 30-track album connect with a generation of listeners who understand and relate to the nuances of depression, anxiety, and therapy.

Throughout his meteoric rise, Kahan has highlighted the importance of mental health with several benefit concerts donating proceeds to local charities.

Even though those positives are worth celebrating on their own merit, they exist in the shadow of Kahan’s unabashed use and promotion of alcohol and drugs as worthy solutions to his pain.

To be clear, the content of Kahan’s expanded work does little to shy away from drug use, alcohol consumption, and lashing out in anger following failed relationships. These consistent themes are reason enough to be cautious of diving too deep into Kahan’s folk songs.

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Let me give you a hint. He’s a filmmaker.  Star Wars: The Force Awakens, the 2009 Star Trek movie, the TV shows Alias and Lost … all him. 

But what about his daughter, Gracie Abrams. Ever heard of her? 

If you haven’t already caught the buzz, let me tell you a bit about this multi-talented, 24-year-old artist on the rise. 

Other than being the daughter of an extremely famous filmmaking father, Gracie is holding her own in the musical world. She opened for Olivia Rodrigo’s Sour tour and Taylor Swift’s Eras tour. And, ironically, she sort of sounds like the both of them combined, while bringing her very own sound (and killer lyrics) to the table. 

She has more than 700,000 subscribers on YouTube, 10.3 million monthly listeners on Spotify and 2.3 million followers on Instagram. She’s also up for a Grammy for Best New Artist. 

In addition, she released an EP back in 2020, and another in 2021. And now, her first studio album, Good Riddance, houses the song I’m going to talk about today. 

It’s called “I Know It Won’t Work”. And it contemplates a breakup and all the complicated feelings and emotions that come with a decision you can’t help but second guess. 

POSITIVE CONTENT

Gracie is mulling over a relationship that is no more. 

She knows that her ex-boyfriend is still waiting for her to change her mind, and that makes her decision all the more difficult (“Why won’t you try moving on for once? That might make it easy/I know we cut all the ties but you’re never really leaving”). 

She admits that she doesn’t feel like she’s worth his waiting (“What if I’m not/Worth the time and breath I know you’re saving?”). 

Still, she knows that even though part of her would love to continue this relationship, the reality just doesn’t hold (“The whole facade/Seemed to fall apart/It’s complicated”). 

CONTENT CONCERNS

Gracie says that an ex-boyfriend is keeping a part of his home cleared for her, just in case she comes back to live with him (“Heard you keep the extra closet empty/In case this year/I come back and stay throughout my twenties”). 

TRACK SUMMARY 

This is an incredibly vulnerable song. You can feel the emotion in every word she sings.

In my late teens and early twenties, “I Know It Won’t Work” would have hit home in a lot of ways: The desire to move on from a long-standing relationship, and knowing that it’d be for the best–then questioning the decision and every thought that led there. Replaying memories and specific moments in my mind.  

I’d imagine that many can relate to these lyrics, just like I can. And there’s nothing wrong with that. 

There’s also not a lot of negative content in this song–at least compared to so much of what you’ll stream today. Yes, it’s clear that Gracie and this ex had a sexual history. But it’s alluded to without being graphic. There’s no profanity. No crude lyrics. It’s mostly contemplation. 

But listeners–especially those who feel Abrams’ lyrics powerfully–should still be cautious. 

Thinking things through to make a solid decision to move forward is a good thing. Wondering what could have been is also normal. 

But staying in that place isn’t. 

Remaining in a what-could-have-been state can become extremely unhealthy. It can lead to depression. Desperation. A lack of clarity. Problematic regrets.

So, when you’re ready to make a decision, do it. And then firmly close the chapter, move on and trust God’s leading in your life. It’s always best.

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Individually, Bryan and Musgraves have each released more than their fare of tear-jerking songs. But now, this dynamic duo have joined forces and recently released a song, a mix of alternative country and folk, and it’s called “I Remember Everything.” 

This somber track sings like a scene from a movie as Bryan and Musgraves tell the story of a former dysfunctional and codependent couple who can’t seem to wash their memories, or expectations, away, no matter how much they drink. 

POSITIVE CONTENT

This song starts with Bryan wondering if an ex-girlfriend remembers all of the passionate, impactful memories that he can’t seem to forget (Do you remember that beat-down basement couch?/I’d sing you my love songs and you’d tell me about”). 

These are the kind of memories that burn in his mind and remind him of deep, vulnerable moments (“The sand from your hair is blowin’ in my eyes/Blame it on the beach, grown men don’t cry”). These memories can’t be erased, no matter how much he may want them to be (“I wish I didn’t, but I do/Remember every moment on the nights with you”). 

CONTENT CONCERNS

Bryan’s solution to forgetting, it seems, is consuming large amounts of alcohol (“Rot gut whiskey’s gonna ease my mind/…Strange words come out of/A grown man’s mouth when his mind is broke”). 

And perhaps he wants to forget because his ex-lover (played by Musgraves), who is also fond of alcohol (“You only smile like that when you’re drinkin’) doesn’t hold her memories of him in high regard (“you’re drinkin’ everything to ease your mind/But when the h— are you gonna ease mine?/…No, you’ll never be the man that you always swore”). 

There are two uses of the word “h—” here. The cover for this song features Zach Bryan smoking a cigarette. 

TRACK SUMMARY 

This song deals with two elements: a dysfunctional, broken couple and personal trauma that was never properly dealt with. 

Sure, it’s about plenty of other things, and the story that Bryan and Musgraves tell is powerful. The heart of this song is both sad and somber. It shows a man who drinks away his memories and a woman who explains why. 

If I were to pick a line to express the depth of emotion in this occasionally profane song, it would be ““it burns like h—” when two souls meet.”

This feels like the proper cautionary tale for those in relationships: be mindful of whom you choose and how you deal with memory, nostalgia and loss.

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This 42-year-old California native is probably best known for her chart-topping single “Your Hands” from her 2008 album Painted Red. And while that was 15 years ago, Heller continues to make encouraging music that looks for the wonder in everyday life. Sort of like her latest track, “Look for Miracles.” 

This beautiful song incorporates both pop and folk elements and recognizes the duality in life while encouraging listeners to search for God’s wonders all around them. 

POSITIVE CONTENT

Heller recognizes that life is difficult and full of its own unavoidable troubles, and yet we can still find hope (“There’s always something to be scared of/But there’s no joy without the pain/…There’s no hiding from misfortune/But there’s always room for hope”). 

She says that life is “a little bit of both” trouble and hope, and she encourages listeners to actively “look for miracles’ and “beauty” in everyday life because, if they don’t, skepticism and cynicism can easily shroud the good moments. 

CONTENT CONCERNS

None.

TRACK SUMMARY

Isn’t it true that we often, so easily, allow our fears and frustrations to become our main focus? 

We have to train our minds to focus on Christ and a positive perspective. We have to train our minds and our hearts to hope and rest in God. And that’s really what this song is about. 

It’s about silencing fear so that we can see the beauty and goodness of life all around us which will, in turn, allow us to be more present and to make memories with those we most love. 

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Now imagine that you wake up a few days later and that song is topping multiple charts, you have a handful of offers from record companies worth millions of dollars and you’re one of the most talked about men in the country. 

That’s what has happened to Christopher Anthony Lunsford, known more commonly by his stage name, Oliver Anthony.

On Aug. 1, Anthony posted his song “Rich Men North of Richmond” to the internet. Since then, it’s been a record-breaking, viral sensation. The song is currently sitting at No. 1 on Billboard’s Hot 100 and No. 1 on YouTube’s charts with over 33 million views, making Anthony the first-ever artist to debut at the top of the charts with zero prior chart history. 

That is wild. 

But it may not be so crazy when you listen to the lyrics and the message that Anthony delivers. His song is hitting home for millions of people–not just Americans–as he talks about corrupt politicians and the social and economic problems that their lack of care, and skewed morality, has caused. 

POSITIVE CONTENT

Anthony hits on many frustrations and problems shared by a vast swath of people. He talks about working endless hours for minimal pay (I’ve been sellin’ my soul, workin’ all day”) and then being taxed to the max, with not much left over to show for your hard work. 

He says that the politically elite, these “rich men north of Richmond,” want to control the American people. But he believes the common people are smarter than they’re given credit for (“Wanna know what you think, wanna know what you do/And they don’t think you know, but I know that you do”). He also calls out the evils of sex trafficking.

CONTENT CONCERNS

Anthony uses profanity in a few lines to drive home his point, calling average wages “bulls— pay.” He says it’s a “d–n shame what the world’s got to” and recognizes that many people struggle with depression and even choose to “drown” their “troubles away” when they feel their financial situation is hopeless as their dollar is “s—” and endlessly taxed. 

Anthony calls attention to what he sees are huge problems in society–but, of course, that means he talks about those negative problems. Anthony believes that politicians don’t care. And because they choose greed and corruption over the good of the people, Americans suffer high suicide rates (“young men are puttin’ themselves six feet in the ground”) and abuse the welfare system (“Well, God, if you’re 5-foot-3 and you’re 300 pounds. Taxes ought not to pay for your bags of fudge rounds”). 

TRACK SUMMARY 

A few weeks back, the day after this song dropped, my husband pulled it up on YouTube and asked me to listen to the lyrics. He said that he resonates deeply with a lot of what Anthony says. And, evidently, it’s not just him. 

Like I said above, Anthony is the first artist to ever debut on the charts at the No. 1 spot with no prior musical history. That’s gotta mean something. I think it means that many hard-working people in America, and around the world, are sick of the state of their countries and the political climates that contribute to those ills. 

If you don’t believe me, just hop on Anthony’s YouTube channel and read the comments below his video. People are raving about this track.

But even if you agree with Anthony’s sentiments, that doesn’t mean that the song is squeaky clean. Oliver uses a fair bit of profanity to make his point, and he hits on subjects that are both weighty and mature. Yet, given the nature of the track, the heaviness of the song makes sense. 

Oliver asserts that he’s not trying to promote one political side or the other. Instead, he simply wishes to acknowledge that he feels his own lyrics deeply and that he’s written a song for the people, a song that is “not anything special, but the people who have supported it are incredible and deserve to be heard.”

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Anyone that knows blues and folk music knows that the 73-year-old Raitt is far from a nobody. Raitt has raked in 13 Grammys over the span of her career and is now being noticed by a younger generation, thanks to her 2023 Grammy Award for Song of the Year. 

For what track, you may ask? It’s called “Just Like That,” and it’s more of a tale than a song. It is a gut-wrenching story about a mother who lost her son, and the man lucky enough to have received his heart. 

POSITIVE CONTENT

Raitt tells a beautiful story of a grieving mother who lost her son years ago. One day, she answers the door and welcomes in a young man who received her son’s heart years before. And the only reason this young man is alive is thanks to this woman’s boy. 

As she talks with him, she lays her head upon his chest–listening to her son’s heart–and years of darkness begin to lift. This is what she says: 

“And just like that your life can change/Look what the angels send/I lay my head upon his chest/And I was with my boy again/I spent so long in darkness/Never thought the night would end/But somehow grace has found me/And I had to let him in.” 

CONTENT CONCERNS

This is a difficult track from which to draw any “content concerns.” That’s because this song is so painfully honest and it’s told from the perspective of a grieving mother. This mother lost her boy in what seems like an accident and she’s carried regret with her ever since. She has felt what it’s like to drop to the depths of despair and admits that “no knife can carve away the stain/no drink can drown regret” and that even though she’s heard that there is hope in Jesus, she says, “He ain’t found me yet.” 

If you’ve ever lost a child, this song could be extremely triggering.

TRACK SUMMARY

There were plenty of people who were shocked at Raitt’s 2023 Grammy win. Especially those who thought big contenders such as Taylor Swift, Harry Styles and Lizzo would take away the award. 

But when you listen to this song, you’re not shocked at Raitt’s victory. Instead, you’re drawn into a narrative that is so powerful it brings you to tears. One that reaches out, grasps your humanity and allows you to see the tragedy and beauty in life from two very different perspectives. 

And it’s refreshing. Often, the Grammy’s are filled with winners who constantly top the charts with popular tracks everyone knows. What a win to award a song that tells a beautiful story of grief and hope, from which many can benefit. 

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But before you dismiss this solo take by Mumford & Sons’ frontman, you should know that his 10-track album isn’t heavy for the sake of being heavy. Instead, it’s his attempt to work through the sexual abuse he suffered at age 6. The album focuses on the horrors of the event, his own personal feelings about the matter and what it means to walk through counseling, grief, difficult relationships and the possibility of forgiveness. 

POSITIVE CONTENT

In “Cannibal” Marcus wants to know how to “begin again” and forgive his abuser. In “Grace” Marcus realizes that he will need grace to be able to work through these painful memories as he shares them with his mother, hoping for “healing just around this corner.” Similar sentiments, along with strong biblical imagery, are heard on “Stonecatcher” and “How.” 

Marcus shares his scarred memories in “Prior Warning” with someone he loves who reminds him “of love and what we would look like without it.” This same person shows him the ultimate example of humility, deciding not to cast judgment but to listen instead (“Then you knelt on the ground like you were drawing in the sand”). 

Marcus asks for forgiveness from a loved one in “Only Child,” saying: “And if you want, we’ll pick through my mistakes/You’ll see me crying/But maybe we could put it all behind.”

CONTENT CONCERNS

The opening song, “Cannibal” includes the harsh profanity “f—ing” and dives into some of the graphic details of the sexual abuse he suffered as a child. He says “I can still taste you, and I hate it/That wasn’t a choice in the mind of a child and you knew it.” He calls this person a “cannibal” who “took the first slice of me and…ate it raw.” 

“Dangerous Game” doesn’t include any profanity or “bad” content, but it may trigger some that are working through counseling themselves, as it’s about Marcus having to remember and work through the sexual abuse he suffered (“Now he tells me to conjure you up/And so we meet again…/And I’m chasing a ghost all around the room/And now you’re strung up on the ceiling”). Similar sentiments are heard on “Stonecatcher.” 

ALBUM SUMMARY

Mumford’s Grammy award-winning group Mumford & Sons has never steered away from tough subjects. But they don’t often plague every single song on an album. 

That’s why Marcus Mumford decided to venture into this effort on his own. His album provides both an extremely powerful and difficult listen. One that’s introspective and confessional. And one that’s best told straight from Marcus’ mouth. 

In an interview with the Los Angeles Times, he says: 

“…the first time I told the story amongst my community — my friends and my family — it was full-blown PTSD. Vomit, breathing, all that stuff. But the point of trauma work is to be able to tell the story without reliving it. So by the time “Cannibal” came out, I’d already done the work. It’s not hugely emotionally charged for me at this point, and I don’t think I’m kidding myself with that.”

In other words, the creation of this album may have allowed him to work through trauma, but he was diligent to work through decades of emotional weight before the album was fully birthed. That’s a big deal and extremely difficult. It shows that he understood the weight of his trauma and what it was doing to him. And he wanted healing. Something that may feel elusive for some. 

Now, this traumatic subject is something that not only his friends and family know, but the entire world does, too. Some may think that all of this is best left in the privacy of one’s home, but for many this may be an opportunity to heal alongside Marcus. 

The album asks really difficult questions, wrestles with concepts like grace and anger, fights with the process of counseling and unburying memories and ultimately ends on his desire to forgive this person who so destroyed him in his childhood. 

There’s one harsh profanity in the opening song, graphic imagery is present in a few others–but the bulk of this album is one of a grown man using biblical imagery to wander through grief while reaching for forgiveness. And if you choose to listen, make sure that you’re prepared and that you have tissues nearby. You’ll need them. 

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POSITIVE CONTENT 

Kane and Katelyn thank God for the things that they get to appreciate and share in their marriage, such as intimacy (“So thank God/I get to wake up by your side”), nearness (“And thank God/Your hand fits perfectly in mine”) and unconditional love (“And thank God/You loved me when you didn’t have to/But you did and you do and He knew”). 

Kane also praises his wife for her ability to forgive (“Needed forgiveness/You always gave me that”) and persevere in their relationship through difficult times (“Girl, I’m a witness of your love/’Cause you don’t be giving up”).

CONTENT CONCERNS

The song itself doesn’t have any material that warrants caution, but the music video is an intimate look at the Brown’s relationship as the two lovingly hold one another, swim together (Katelyn in a bikini and Kane, shirtless) and drink beer on the beach.

TRACK SUMMARY

In the short time it’s been released, the music video for “Thank God” has already raked in more than 3.7 million views on YouTube and counting. It’s a song that Kane tells Billboard he and wife Katelyn have looked for for some time. 

He says, “We probably went through about five of them [songs] before we got this one from one of my writers…it was supposed to be a solo song. We changed it to a duet… Personally, I think it is the biggest song off the record.”

The track’s popularity continues to rise, and it praises God for marriage, places a high value on forgiveness and intimacy and speaks of how wonderful it can be when two people work hard for their relationship. 

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