By Kyle Matthews
Regardless of whether you think you like traditional gospel music or not, do not miss this album.
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I say that acknowledging that this material is not where I’m from — neither as country and traditional gospel music nor the theology it has typically represented. But Patty Griffin is doing something transcendent here; it is a modern alt-country production of earthy, old-time gospel, beautifully performed. It’s an interpretation, like a gorgeous new movie about the Deep South a century ago.
It is a reminder that all theology is contextualized. I may sit in modern comfort and security and regard imagery about “streets of gold” as poetry — but when a woman from another era, for whom poverty and sickness are life-long realities, sings with conviction that she’d rather be in her grave with her salvation than live in a house of gold, I can only question how much I really value my own salvation (however I understand it). Griffin brings that woman into my living room.
As the soundtrack to “O Brother, Where Art Thou?” did for bluegrass, this collection proves that there is a power to be discovered in any genre that has moved so many people for so many generations — a power anyone can understand. Credit is due to a group of musicians who know how to support a song selflessly, to artful production that leaves no fingerprints, and to Griffin’s exquisite taste and musicality. They decided together to turn our attention to what is not there as much as what is.
The surprise for me is that the breadth of the styles represented — which is impressive — is never disruptive. The small, careful production keeps traditional spirituals, country gospel, blues, and hymns all sounding like they belong to one another. The artist manages to sing each style differently and faithfully without sounding as if she’s trying on dialects. In the spirit of true church, she’s put all the diversity under one roof to serve a higher purpose.
I’d like to see the credits to know who else was on the team behind these recordings, but the album won’t be released until Jan 26th. Still, one listen reveals that Griffin has reached beyond stereotypes, has taken the songs seriously because she loves them, and has made art by finding the honest and personal pathos and conviction that is at the heart of all great gospel music.