I can relate to this song in a big way. Having grown up playing in rock bands and working as one of the backroom boys in and around the music industry most of my life, you would expect me to sport the seemingly ubiquitous tattoo. But no, just like Nathaniel Paul’s wife, whose choice to remain “uninked,” as I believe the kids say, he celebrates in this song, I don’t either.
It is ironic that rock music, in its broadest sense, was all about being an individual, walking your own path, and doing things your way. Freedom and choice! Yet punk quickly adopted a sartorial uniform, indie kids all have the same haircuts, rock music essentially all sounds the same, and everyone has tattoos. Strike one for individuality.
(I’m also reminded of entry number 5 on Robert Forster’s fantastic book, “The Ten Rules of Rock and Roll,” which says, “The band with the most tattoos has the worst songs!” Make of that what you will.)
If “The Girl With No Tattoo” is a tribute to his partner’s ability to do things her way, and also perhaps a wider metaphor for freedom to be yourself, the song is also a tribute to Nathaniel Paul’s musical individuality. Forged by mixing gentle rock sonics with soulful vibes, it blends seduction and sophistication, balancing intricate tones and textures, some slightly roughed up, some sublimely polished, and does so to a brilliant end.
The song is proof that rock and roll can be more than just volume and velocity, proof that if you are brave enough to mix that core sound with understated dance and ambient soul, dream-pop vibes, and a commercial sheen, you can create something exquisite. How do I know? Well, I just gave “Girl With No Tattoo” a few spins, and it is all the proof you need.
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