Blending a dextrous and folky fingerpicked guitar with a bass line that struts and strides confidently across the musical landscape, “Cry” is a glorious creation. There is a wonderful ornateness to be found in the song’s melodies, never showy or overplayed, just the sound of poised and polished playing.
But neither is this just folk music under a different name, for although it embraces everything good about that sonic world, there is an indie urgency to the sound and enough drive and rock and roll weight to moves it beyond those traditions.
In a different era, folk-rock would have been the tag applied, but those two words taken together can often conjure images of flamingo-posed flutists or Greenpeace-supporting cider festival bands in jumpers that are too big, too worn, and far too loud. No, this is not that – not by a long shot.
What helps is the relaxing and mellifluous vibe that oozes from the song. For all its busy constructs, it never overwhelms, nor does it underperform, and those opposite forces seem to set up just the right balance of haze and harmony, mood and melody.
Labels don’t matter anymore, anyway. It is best you just enjoy the “Cry” for what it is. And what it is, is a cool and cleverly constructed song that borders on any number of genres. the best of all worlds.
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