When California native Sara Bareilles moved to New York City this past year, she was seeking inspiration that would help her avoid musical monotony. It seems that the magnetic, bustling streets of Manhattan did just the trick.The Blessed UnrestĀ presents fans with an entirely different side of Bareilles.
In her fourth album, Bareilles has abandoned her usual pop formula of upbeat rhythms and empowering, sassy lyrics. Whereas her overwhelmingly successful singles āLove Songā and āKing of Anythingā audaciously criticize her past lovers, the ballads ofĀ The Blessed UnrestĀ convey far more serious romantic scars. Lightheartedness has been replaced with an equally addictive melancholy. Nevertheless, Bareillesā lyrical brilliance continues to shines through.
The track that best conveys this artistic transformation is āManhattan,ā a ballad that tells the story of a long-distance romance that ends in heartbreak. Stylistically, the track is unlike anything weāve ever heard from Bareilles and is far more reminiscent of Norah Jones. Underscoring Bareillesā range and maturity as an artist, the songās dazzling lyrics parallel the personal changes in her life.
New York Cityās profound effect on Bareilles is also obvious in āChasing the Sun,ā which is set in a cemetery in Queens. A spiritually empowering track, āChasing the Sunāarguably features the most beautifully written lyrics of the album. Namely, Bareillesā comparison of her heartbeat to a symphony amid an old city stuck between the dead and the living is particularly thought-provoking.
In addition to reinventing her overall style, Bareilles has sought the help of others in the production ofThe Blessed UnrestĀ to maximize her potential as an artist. JackĀ AntonoffĀ of fun. co-wrote āBrave,ā the albumās first single. While āBraveā is melodically similar to Bareillesā older songs, it confronts a far more serious topic: Itās inspired by the coming out of Bareillesā gay friendās. The track should be applauded for its lyricsā ability to empower listeners, although it lacks the poppyĀ catchinessĀ of āLove Song.ā
Bareillesā took a risk with her transition into more mature, somber pieces. However, it was warranted as she has recently been struggling to retain her original popularity. Since the pop hit āLove Songā peaked at number four on the Billboard Hot 100 in 2008, she has had a difficult time achieving a similar level of worldwide success. Though her past albumĀ Kaleidoscope HeartĀ debuted at number one in the United States in 2010, its most successful single, āKing of Anything,ā reached nowhere near the same level of success as āLove Song.ā
The one track inĀ The Blessed UnrestĀ that successfully managed to play on repeat in my head all day long was āLittle Black Dress.ā I found myself drawn to this piece because it was reminiscent of Bareillesā older style. Ā Less serious and more upbeat than all of the other tracks in the album, āLittle Black Dressā exudes fun. Itās hard not to smile when listening to the words, āThis doesnāt have to be a sad song. Not with my little black dress on.ā
All in all,Ā The Blessed UnrestĀ deserves immense praise for its showcasing of Bareillesā lyrical genius and range. Gone are the audacious lyrics and bubbly tracks about incompetent lovers. Instead, the album presents mature, pensive pieces about more serious relationships and life encounters. I am left with only one complaint: not one of the 12 tracks on the album have the potential to imprint themselves onto the minds of Americans like āLove Songā did five years ago. There is, however, more to music thanĀ catchiness. Thereās lyrical wit, melodic beauty and the musicās ability to move listeners, whichĀ The Blessed UnrestĀ manages just fine.