Review Summary: Folk-pop with splashings of soul, Obadiah Parker Live is a curious album showcasing a relatively young but incredibly underrated talent.
I have watched many films where I was sad to see the credits roll. I have read many books where turning the last page, forcing myself to give up a world that captivated me for hours, seemed almost criminal. I have never been sorry to hear the last note of an album, however. Listening to an album (please note, not songs, or music in general, just whole albums) has never made me beg for more. Generally they end and I resign myself to the songs I have been given. When
Obadiah Parker Live ended, something interesting happened. I felt curiously sad, I couldn’t believe that was all there was. It’s not that it’s a short album (1 hour and 49 seconds to be exact), it’s the fact that the band held my attention for every single second of it, and it was a rather nasty jolt back to reality when the silence fell.
Obadiah Parker Live is a curious mix of emotions, at times it is subdued and melancholic (“Fall Back”) sometimes it’s distinctly irate (“Idioteque”), and at other points it’s marvellously uplifting (the jazzy “I Can’t Stop Thinking About It”). This can be partly put down to the stripped down nature of it (there are no production techniques to smooth out the ride you go on when listening to this) that gives Matt Weddle, the lead singer, a chance to give you a real look into his emotions. Having said that, throughout most of the album there is a yearning that dogs the band, a subtle strain of depression. There’s no point where Weddle is truly happy, he never laughs and, I highly suspect, he never cracks a smile either. Like “Hey Ya” for example, it starts with soothing, emotional vocals from Matt Weddle, telling the listener that not all is perfect in his world. The chorus is subdued, almost whispered, and even the musical backing holds a certain moody atmosphere. When he sings “all right now fellas, oh, what’s cooler than being cool,” he doesn’t sound like a man who’s in the middle of a huge party. No, instead he sounds drawn back, only occasionally coming out of his shell to fully express a tempered passion. But then the final chorus explodes, the band stops holding back, and the result is a fitting finale. Even then, however, the band still retains that passionate plea for a better world. That isn’t a criticism, but nor is it a compliment, it’s just a fact.
The soul influences (worn on their sleeve proudly) add another point of interest. Jesse Young’s keys are sublime while Daniel Zehring’s bouncing bass keeps the energy going (even adding an almost funk-feel in opener “Salvation Jam”). Then there’s the trumpet… oh the trumpet. Young proves she is a talented multi-instrumentalist with a call back to classic jazz; the trumpet’s tone is pure and sweet, played with a talent I was genuinely surprised to see in a band this young. Its also not overused, if the trumpet had been present in every song than there is a distinct possibility that it would have grown stale, but Obadiah Parker avoid that, instead giving it the chance for a few solos on selected songs but otherwise leaving it as a side dish. Aside from that, every instrument is treated equally. Weddle smartly avoids making this a one-man show and often steps back to allow the other members a chance to shine. To cite an example: Young’s piano flourishes at the beginning of “Idioteque”, or the previously mentioned bass opening in “Salvation Jam”.
Finally there are Matt’s lyrics, though not exactly subtle (“If we don’t trust in the God of Abraham,”) they are still relatable and intriguing. He’s not afraid to let the audience know he’s a Christian, but he also doesn’t shove it in their faces. All too often Christian artists tend to dedicate every song to their religion and, as a result, grow out of touch with their listeners and the real world. Not so with Obadiah Parker, who only add references here and there alongside a few songs that are clearly devoted to God (namely “Salvation Jam”, “Burnt Offerings”, and “Who Is It?”).
This is a live album (the applause at the end of every song ensures you’re aware of that) but really this should be treated as the band’s debut album. The quality is as good as a regular album, all of the instruments are at appropriate volumes, and there are very few mistakes (if any). If it weren’t for the previously mentioned applause there would be nothing to indicate this was performed in front of a crowd. So that’s how I think about it, as a talented young Indie band’s first major step into the music industry. Listen people, they’re giving their all here, baring their souls without a hint of nerves, this is a band to look out for in the future, the next venture should be well worth the wait.
