Empires rise and fall every day in the human heart, and riding these cycles — — stories with no beginning or end, only transformation — — churns us through the reckless, ridiculous, rueful, redemptive.
A founding member of Lake Street Dive and writer of some of their most enduring songs, Iowa-born and Brooklyn-based Bridget Kearney is known for writing smart, unexpected lyrics and melodies built for a heart-baring dance or an introspective drive. Kearney writes music as if filtered through a camera lens. Her stories, steeped in nostalgia and joy, construct a bittersweet framework around the memories that make us human, and shape who we are. As the absurdity of life abounds, Kearney can hold these fragile snapshots and rolling reruns with evident notes of levity, and compassion for a past self. On her new album Comeback Kid, produced by Dan Molad (Lucius, Buck Meek), there are reminders to cherish the moments that make up the collage of what we see in the mirror, but to also plant our feet firmly in the present, for those are the times that will come to form the future.
The tracks hop through time, from the relentless, obsessive romanticization of the past, to unrestrained lust for a different future, all inherit the spirit of resilience needed for any move forward, whether it’s to dive back in, walk away, or wrestle with the memory itself. In moments, our Comeback Kid wishes to encase a night in amber to revive it at will, like the old man in Jurassic Park, but ultimately is hip to the bittersweet truth that it will never be the same when you return.
Kearney began making Comeback Kid back in 2021, in between her work with Lake Street Dive, and a new position as a songwriting teacher at Princeton University. During the process of Comeback Kid, Kearney took inspiration from her Princeton students, as well as her peers when she embarked on a song-a-day workshop. As she found herself surrounded by the thoughts and processes of others, she was able to pinpoint what it is about songwriting that she truly cherishes: namely, the textures and flourishes that come to form the mood of each creation.
Comeback Kid is soaked in vintage synths, Kearney’s soughing vocals and delicate-yet-driving percussion that ushers in a bright and serene tenor. “If you’re driving, baby I wanna go,” she soothes on opener “If You’re Driving,” welcoming us to the LP with windows down, eyes closed, air rushing through our fingers. It’s a celebration of staying in the moment, of saying “yes,” even though you know it won’t last forever.
With references to real psychological games, like Rorschach tests and the phenomenon of Ironic Process Theory, they help build the theme of the mind-bending nature of obsession, memory, and perspective. Just like the acrobatic brain games we play in relationships, Kearney plays with language and references, with multiple meanings of “comebacks and coming back,” and nods that run the gamut from Samuel Barber’s mid-20th century masterpiece Adagio for Strings to Jerry Seinfeld’s late-20th century masterpiece Seinfeld.
The single “Security Camera” captures the carefree liminal space of reminiscence, as Kearney collects those significant, special moments of a past love. There is no animosity or even sorrow here but rather a warm, propulsive rush of gratitude and awe. “You have these really wonderful, blissful times in your life that are fleeting,” she explains. “It’s an attempt to keep loving the moments in your past, to carry them with you.” These moments are carried with care throughout Comeback Kid, but with an eye on the farcicality of simply existing. Kearney is both sincere and silly, somber yet spirited, expertly gathering the iridescent spectrum of what it means to be alive.
The punk rock attitude will save you. Mali Obomsawin and Magdalena Abrego are two improvising artists equally comfortable in free jazz and indie rock, bonded in the language of experimentation. Their upcoming duo album Greatest Hits is a journey through songs penned by Obomsawin that explore decay and delicate moments – cradled by Abrego’s worldbuilding and evocative guitar playing.
Mali Obomsawin is a bassist, singer, and composer from Odanak First Nation and one of GRAMMY.com’s top ten emerging jazz artists to watch this year. Her debut album Sweet Tooth (Out of Your Head Records, 2022) garnered international acclaim and was named in ‘best of the year’ lists from The Guardian, NPR, and JazzTimes upon its release. Evocative and thunderous, Sweet Tooth delivers a gripping and dynamic performance, seamlessly melding chorale-like spirituals, folk melodies, and post-Albert Ayler free jazz. Obomsawin’s ensemble occupies a musical universe completely their own, bringing skronk and reverence to every stage.
Magdalena Abrego is a New York-based guitarist, composer, and teaching artist. Utilizing the languages of free jazz and experimental rock, Magdalena’s music confronts issues of musical tradition through genre-bending improvisation. Magdalena presently serves as a faculty member in the Contemporary Musical Arts program at the New England Conservatory. Her expertise has garnered invitations to deliver guest lectures and provide guidance to ensembles at esteemed music institutions throughout the Northeast, including Berklee College of Music and Dartmouth College.
