By: Hope Ankney
For the first time in a long time, the sun peeks itself out from the clouds and radiates its warmth onto skin. The birds are chirping. The flowers are blooming. The energy all around is tinged in the lightest of yellows. Growth is in the air. Fresh beginnings ride the winds. Mother Nature is present at the doorstep, washing the grey of winter from memory. The earth is waking from its slumber. That’s how it feels to be immersed in Tom Wardle’s Jacqueline.
English-bred, it is almost difficult to believe this encompassing of spring breathes from an artist who has lived in the dreary weather of the U.K. for the better part of his career. But, perhaps through the three years it’s taken to release his fifth EP, relocating to California to finish the EP in 2017 after production in London with Chris Difford of Squeeze, one of Wardle’s songwriting heroes, proved to be hard to schedule between the two, the SoCal sun imprinted on the direction of his sound. Wardle went on to finish the EP in Los Angeles with the help of Brian Wilson co-writer and producer Scott Bennett.
It’s impressive to see the golden essence of Jacqueline shine as brightly as it does throughout the entirety of the 5-track EP, but it isn’t surprising when matched to the infectiously smooth vocals that Wardle possesses. The grit and soulfulness that drenches the record is reminiscent of the feeling one gets as they drive through the open highway, windows down and the sweet scent of spring filling their lungs. But, that is to be expected with the main influences of Jacqueline being the likes of The Faces, Bob Marley, Robert Palmer, and Squeeze.
Bob Marley’s influence is direct on the reggae-led “I Know What She Needs.” One of the highlights of the EP, “I Know What She Needs” was only created after Wardle moved to LA, giving more praise to the new environment for possibly fabricating the track. Inspired by a woman who is acting coy about his presence in her life, Wardle evokes the plea of desperation in his delivery as he repeats over and over again that she needs his love. Not knowing where he stands, he makes the act of declaration stronger as the record beats on with the Bluesy-spunk of his voice overlaid the reggae musicality. The fun, staccato backing vocals of the chorus only adds to the vibe appeal of the track.
As far as title-tracks go, they usually act as the weaker segments of a record. But, Wardle’s “Jacqueline” proves to be a breathtaking break between the rest of the upbeat, modern Blues of the EP. It being the only, truly raw and stripped song in the bunch, it stands out for its simplicity in production. Showcasing his range, “Jacqueline” is an ode to a lover that could’ve inspired the whole of the record. Crooned over an acoustic guitar and soft dribble of keys, the track shadows a vulnerable side to Wardle. One can feel the emotion dripping from lyrics like “No money left but the sun’s coming out,” and it sits closer to the chest of the listener than any of the other tracks on the EP.
Tom Wardle’s Jacqueline is able to break through the negativity that the muted hues of winter can spread. Emulating everything bright and sunny about SoCal’s energy, the solid-nature of the record wouldn’t have been possible without Scott Bennett on keys and harmonies, fellow, long time Brian Wilson member Probyn Gregory on horns, Neil Conti of Prefab Sprout/David Bowie on drums, as well as Tom Jones guitarist Scott McKeon adding great electric guitar throughout the whole record. Out in mid-February, Tom Wardle’s Jacqueline isn’t just an EP to throw your cares into but the perfect introduction to warmer weather. It is the joyful embrace that spring brings.
