Brittany Howard: Jaime review

(Columbia Records)
A wonderful solo debut takes in race, religion and boozy excess, all with searing lyricism

Winners of four Grammy awards across three styles – rock, alternative and roots – Alabama Shakes straddle others besides: gospel, blues, rock’n’roll, soul. But this debut solo album from frontwoman Brittany Howard stretches out even further, casually and unpretentiously, as if on a sofa with a guitar when everyone’s at work.

These songs started as melodic scraps and Howard astutely keeps them feeling scrappy. You can feel the torn edges of vocal samples as they rant and repeat, while her own voice will chant or sing over itself; there is plenty of room noise and lo-fidelity, but never in a needlessly fetishistic way. It has the skittish quality of J Dilla, and indeed, Tomorrow, He Loves Me and Goat Head are underpinned by rhythms that sit between hip-hop and neo-soul. There’s something of Gil Scott-Heron’s rangier moments too; the careful, melancholy placement of the notes of Short and Sweet evokes Billie Holiday.

The scraps are glued into place and luminously lit by Howard’s brilliant sense of melody, and her searing lyricism. The standout is Georgia, which begins with Howard repeating “I just want Georgia to notice me” in a girlish chant, as if picking petals off a daisy. Soon she is left with just a stalk, and the impossibility of her ardour hits her full-force: the song switches up with a stirring organ motif and becomes intensely moving, two scraps finessed into something whole. The excellent Goat Head lays out the racism her parents faced as a mixed-race couple in the American south, Howard’s lyric written with a child’s blend of clarity and confusion at the injustice.

But it’s emotionally as well as musically varied. He Loves Me sees Howard giving up church safe in the knowledge that God is still smiling on her when she’s drinking too much and smoking blunts; she finds herself in a different cloud on Stay High, of bliss that’s perhaps musical, perhaps post-coital, backed by twinkling waltz-time soul. Artists often take on solo projects to get things out of their system before regrouping, but those things are rarely as beautiful as they are here.

Contributor

Ben Beaumont-Thomas

The GuardianTramp

Related Content

Article image
Brittany Howard review – politics and transcendence from Alabama Shakes star
A mid-set acoustic moment proves incendiary for this UK solo debut in support of Howard’s forthcoming album Jaime

Michael Hann

30, Aug, 2019 @1:30 PM

Article image
Dave Okumu & the 7 Generations: I Came from Love review – spirituals, soul … and Grace Jones
Okumu’s imaginative ‘collaboration’ with his ancestors and successors is a genre-switching journey through an extensive lineage of Black experience

Tayyab Amin

14, Apr, 2023 @8:00 AM

Article image
Brittany Howard: ‘I think back and I can’t even recognise that kid now’
Continuing our series where stars recall their teenage obsessions, the Alabama Shakes frontwoman remembers fishing, home recording and leftfield spirituality

As told to Stephanie Phillips

01, Jul, 2021 @1:56 PM

Article image
Mavis Staples: We Get By review – fearsome, eclectic, and on fine form
She may be 80 in July, but Staples is more heartfelt and expressive than ever here, in new songs of struggle and unity

Dave Simpson

24, May, 2019 @9:00 AM

Article image
Van Morrison: Latest Record Project Volume 1 review | Alexis Petridis's album of the week
The veteran bluesman loudly wakes up the sheeple with this boring and paranoid double album, reminiscent of a dinner party with a bitter divorcee

Alexis Petridis

06, May, 2021 @10:30 AM

Article image
The Teskey Brothers review – Aussie blues revivalists let the good times roll
With their blend of Muscle Shoals soul, boogie-woogie and pub rock, the Teskey Brothers are trapped in the past – but make gorgeous music nonetheless

Alexis Petridis

26, Jan, 2020 @10:00 AM

Article image
Mavis Staples & Levon Helm: Carry Me Home review | Alexis Petridis's album of the week
On poignant yet defiant recordings made in 2011 shortly before Helm’s death, Staples’ commanding vocals give enormous vibrancy to blues, folk and soul standards

Alexis Petridis

19, May, 2022 @10:15 AM

Article image
Rod Stewart: ‘I got Elton a fridge for Christmas. He got me a Rembrandt’
Answering Guardian readers’ questions, the singer discusses his epic railway modelling, his admiration of the Sex Pistols and the secrets of his hair regime

As told to Dave Simpson

18, Nov, 2021 @1:00 PM

Article image
‘Booty is part of Blackness!’ Bobby Rush on blues, dirty dancing and being the funkiest man alive
After 75 years of performing live – including in mid-century minstrel shows – Rush’s joyful ‘folk funk’ is finally attracting wide acclaim. He talks about his tough childhood, his feud with James Brown and staying true to his Black audience

Garth Cartwright

07, Jan, 2022 @8:00 AM

Article image
‘Joni Mitchell said she felt as awkward as me’: Brittany Howard on poverty, chaos, Alabama Shakes and fame
The Alabama Shakes frontwoman became the toast of music’s A-list – so why did she feel so miserable? She reveals the grief and heartbreak she overcame to make her stellar new album

Marissa R Moss

08, Dec, 2023 @5:00 AM