R&B singer/songwriter and one of the most impressive technical singers in the game Tori Kelly finally releases her second studio album after 2015’s Unbreakable Smile, teaming up with multiple Grammy-Award winning gospel artist Kirk Franklin to go in a heavily Christian-influenced direction. Franklin has recently contributed to albums by Kanye West and Chance the Rapper and is credited as a writer and producer on every track here, matching up his always enjoyable brand of jubilant soul to the vocal clinics that Kelly puts on here. While a few of the slower tracks here do extend a little long and verge into the territory of prioritizing the ideology behind the lyrics more than the enjoyability of the song itself, old-school gospel music is a great fit for Kelly’s ridiculous vocal runs, and she certainly shows off her skillset here.
The project kicks off with a bang on the track “Masterpiece”, which features Christian rapper Lecrae. A church organ slides into the enormous and uplifting chords coming from the backing gospel choir and horn section as Kelly breezes through some truly Aguileran vocal acrobatics before the breakbeat drops and the track turns into a pretty standard upbeat R&B track you’d find on one of her albums regardless. Tori Kelly’s voice would be instantly recognizable anywhere, usually staying in an impressively high belting range accompanied by the trademark emotional little breaks and squeaks that make her so distinctive as she ascends up and down the scales in seconds on almost every end to a musical phrase. The track really picks up near the end with more of a trap-influenced breakdown, the choir returning to shine over the more minimal, half-time instrumental before Lecrae drops in with an enjoyable verse.
There really is something undeniable about the specific chords associated with gospel music, and Franklin is the best man to turn to in order to bring them out. The combination of old-school gospel sensibilities with the 90s R&B style Tori brings to the table with her vocal delivery makes for the kind of display of musicality that makes your face scrunch up and make some involuntary noises of excitement. Take me to CHURCH! The track “Help Us To Love” plays out like a late-90s slow jam, featuring soul singer Anthony Hamilton’s backing vocalists the Hamiltones sounding like Boyz II Men as they complement Kelly’s emotional pleas for a world full of more love. “Sunday” is another great track where Franklin adds some classic 90s hip-hop sounds to an acoustic funk guitar pattern and walking bassline. Tori comes through midway through the track with a beautiful harmonized scat solo and it really reminds you just how boundless her talent is – classically trained, she can tackle anything from pop to jazz to gospel effortlessly.
After the opening three songs, the lyrical content of the album gets more explicitly Christian as the songs become more traditional, taking away from my personal enjoyment and replay value of the album even as Kelly continues to display some seriously impressive vocals. Apparently, she will release another, more commercial album relatively soon, and I’ll be waiting impatiently for that one. “Just As Sure” is more of a pop/folk style song, Kelly dropping down to a lower range than usual in a duet with singer Jonathan McReynolds over a calmer acoustic guitar pattern. With McReynolds’ higher tenor voice, it’s interesting to hear Kelly’s capable vocals in support rather than taking the flashier role in a duet and the two really do sound great together – I can’t deny how beautiful their harmonies and the backing choir that appears at the track’s conclusion are, but there’s only so many ‘Jesus I love you’s I can take seriously.
The track “Psalm 42” is based off of the words of an actual Biblical psalm and is the most low-key track here, extending to 5 and a half minutes as Kelly repeats most of the same phrases for the whole duration – turning these ancient words into a pop song makes for some awkward syllable emphasis as well, making the chorus easily the least memorable on the project. “Soul’s Anthem (It Is Well)” closes out the project with an extended, percussion-less display of Kelly pushing her voice to its limits in praise in a kind of freeform call-and-response with the choir that leaves me in awe of her talent but unlikely to return to the song due to it losing its sense of rhythmic structure that holds everything together. “Questions” is another slower track that features some awkwardly phrased and painfully blunt Christian doctrine referring to important world issues in its lyrics, but gave me the most visceral reaction of any here as Kelly layers her vocals to incredible, chills-inducing effect in the second verse.
As a huge fan of Kelly’s musical style without the faith she speaks of, it’s hard to know how to quantify or analyze the project due to its ability to resonate differently with different people. The combination of the massive talents of Kelly and Kirk Franklin do create some of the most incredible musical moments I’ve heard all year – but for me personally, its hard to get over some of the less contemporary aspects of the project.
Favourite Tracks: Masterpiece, Sunday, Help Us To Love
Least Favourite Track: Psalm 42