New West Records
Anarchist Gospel sees the Nashville-based singer/songwriter, Sydney Ward, return with an effort built on survival. It’s a record centred around healing, emotionally powerfully but vibrantly upbeat, creating joy out of tragedy. The album’s title encapsulates the record perfectly, as Ward tells her truth in an engaging, enthralling, and defiant manner.
It’s an album that explores conflict, as Ward admits there are two sides to her; “One of them is very self-destructive, and the other is trying to work with that other half to keep things balanced”. Ward shapes this conflict brilliantly throughout the record through her writing and the dexterity of her voice, which is equal to her fantastic, idiosyncratic guitar playing. Ward is no stranger to hardship, having battled with addiction and poverty after dropping out of school. Anarchist Gospel sees her dealing with a breakup, as well as a relocation. It represents a crazy period in her life, which she articulates in a sometimes mournful but largely uplifting manner.
Ward is the star throughout, but the record boasts an array of guest stars from the world of blues and folk music. It’s produced by Andrija Tokic, noted for his work on Alabama Shakes’ 2012 breakout album Boys and Girls. David Rawlings provides some excellent contributions, as do Allison Russell and Chris Pierce, as the record bounces between folk, blues, and soul, Ward’s voice effortlessly navigating through the genres. It’s a personal effort, but Ward builds upon some of the themes she explored in 2021’s Simple Syrup, with tracks like ‘Earth’ and ‘‘Test Dummy’ exploring broader political topics.
The opener, ‘Love’s Death Bed’, brings some classic blues energy with its strung-out harmonica sound, gentle bass line, and call-and-response vocals. ‘No Reason’ is one of the album’s highlights, a bristling, upbeat number with its hooky chorus and soaring vocal harmonies, which descend into an all-out freakout at the end. It’s a track that encapsulates the sense of conflict Ward wants to convey as she sings in the chorus, “You’re an angel/You’re a demon”, recognising how even the people we love are conflicted. ‘Shelter And Storm’ shuffles along with its twangy guitars and hand claps, but a darker meaning lurks beneath as Ward bemoans the destruction of the planet.
‘I Got No Fight’ sees Ward battling instability after a breakup, her voice beautifully weary as she sings, “I hear the devil on my shoulder speak/He whispers to me when I’m feeling weak”. ‘Swear to Gawd’ has shades of Alabama Shakes to it, Ward bringing a sassy, soulful edge (“Don’t be slamming doors like you pay bills in my house”). ‘Earth’ is another tender effort, tackling environmental issues as Ward laments, “She’s [Earth] withering away”. ‘New Day’ provides some stripped-back country blues, Ward musing over misplaced love, warning, “Believing in magic/Can be tragic”. ‘Baby Bitch’ is a melodic take on Ween’s original version, Ward giving it a more upbeat feel with its almost child-like choral harmonies.
‘His Love’ is a gentle, bouncing folk number; John James Tourville provides a lovely retro feel on the pedal steel. ‘Hopeless’ sees Ward healing as she sings, “I’ve cried a little bit too long/Now it’s time for me to be strong”. The song has a lovely, languid melody, driven by the rhythmic, interesting percussion, which sounds like two drumsticks being clattered together. ‘Higher’ is a poetic, mournful number, Ward looking back into her past; “Somewhere in my memories/I hold my head a little higher”. ‘Test Dummy’ is a rapid country shuffle which contrasts with its heavy subject matter, which explores social and racial inequality with some nods to Ward’s past.
‘Sweet Nothing’ is the album’s longest track, a gentle, intimate affair with some gorgeous strings drifting in and out. It’s tender but uplifting, and when Ward sings, “Let’s make a dream out of this tragedy”, you get a strong sense of catharsis. The closing track, ‘Whole’, is a semi-cautionary tale, Ward warning, “Don’t you work yourself/Work yourself to death”, as she looks forward with renewed hope. The whole record feels like a journey as Ward battles with her emotions, ending the record looking forwards rather than backward.
Anarchist Gospel is a wonderfully diverse affair, shifting between vulnerability and defiance, all woven together by Ward’s enchanting vocals. Musically it’s always interesting, going beyond the normal parameters of blues and folk music, upbeat and uplifting. It’s a record dripping in emotion, but not one which weighs you down; as Ward lifts herself, she takes you with her.