Natalie Bergman opens up her sound on her second full-length, trading the heartbroken gospel of 2021’s Mercy for a spacious, airy production style that nods to classic Motown. It’s not often that a contemporary, Caucasian artist earns a comparison to Diana Ross, but listen for a minute to “Lonely Road,” with its sinuous bass, subtle stinging guitars on the upbeats, lush slathering of strings, and the cool, poised vocals at its heart. Bergman’s tone is girlish but in control, sweet but tinged with melancholy and hard-earned knowledge, backlit by a shimmering wash of echo and overtone, and if you flash onto the Supremes for a second, you’re not the only one.
Bergman arrives on this sound unexpectedly. Nothing about the smoldering blues rock…

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