Review Summary: Sam Beam takes natural steps forward and completes his artistic evolution (so far)
1 of 1 thought this review was well writtenAmongst a slur of slide guitars and tribal percussion, Sam Beam (Iron & Wine) wastes no time expressing his artistic evolution on
Woman King. The first drawling sounds and harmonies of the title (and opening) track introduce a side of Sam Beam that was hinted at in
Our Endless Numbered Days, but never fully realized. Quite simply,
Woman King introduces a folk entrepreneur that has risen far past being solely a terrific songwriter with a bedroom microphone - within the six songs of the EP, Beam has certifiably evolved into a lyrical and musical genius. Utilizing elements of traditional folk, bluegrass and even world music,
Woman King expands on Beam’s earlier work tenfold and establishes Iron & Wine’s position amongst the innovative trailblazers of modern folk music.
In what is arguably the EP’s best track, highlight song ‘Freedom Hangs Like Heaven’ is a more than decent representation of the evolution Sam Beam has undertook since
The Creek Drank the Candle. Much like Beam’s earlier ‘Free Until They Cut Me Down’ (only even more awesome), the song features a bluesy guitar line that subtly introduces the song’s barroom mot*f, as Beam’s harmonies spiral through a maze of terrific lyrics, slide guitar and banjo leads. The weird thing, though, is that ‘Freedom Hangs Like Heaven’ sounds a
lot like a ‘Free Until They Cut Me Down’ in its approach. In fact, when you really analyze
Woman King and
Our Endless Numbered Days side by side, they are very,
very similar: ‘Jezebel’ and ‘My Lady’s House’ are more expansive, tranquil reinterpretations of songs like ‘Love and Some Verses’, while tunes like ‘On Your Wings’ find new life in the exotic title track and ‘Gray Stables’. But don’t get me wrong,
Woman King is
not Beam plagiarizing himself. The simple fact is, every song on
Woman King is a literal expansion and reimagining of Beam’s regular schtick; each track on this EP is physical evidence of musical evolution. Yet not only is the EP an “improvement” when compared to his back catalogue, the collection of songs showcased here all stand well on their own when compared to Beam’s by now lesser contemporaries - the bar hasn’t just been raised for Beam, it’s been raised for everybody.
So, it all boils down to Beam’s brilliance as a musician. He comes into his own as a songwriter and as a multi-instrumentalist tenfold on
Woman King while remaining true to his roots and his future all at once - a perfect role model of musical evolution. Those still in your basement bedrooms churning out Sufjan Stevens covers, do take notes.
