Craig Finn: A Legacy of Leases

The writing stays the primary attraction in Finn’s work, and each as a storyteller and a rock songwriter, he has by no means sounded extra in management. From the start, he had a present for meticulous, vivid world-building, and his wordplay has gotten tighter as his topics have come right down to earth: “He desires of sweeping vistas/And machines that sweep the streets,” goes a line in “Curtis & Shepard,” which tells us the whole lot we have to know concerning the central character’s suffocating life-style. Driving a fab bassline and drum loop that finds the center floor between “Stroll on the Wild Aspect” and “Streets of Philadelphia,” the density of his rhymes builds with the music, bringing us into the character’s thoughts versus merely narrating the view.

In a 2021 interview, a few yr after lockdown first began, Finn mentioned the best way it had impacted his songwriting, which for therefore lengthy was based mostly on touring and assembly folks—listening to their tales, leaving his consolation zone, following conversations to shocking ends. In a press launch for the album, he notes that his accomplice is a hospital nurse, and within the early levels of the pandemic, he was suggested to dwell individually from her to keep away from contamination. Coupled with the deaths of a number of shut mates throughout this time, the circumstances led to an uncommonly darkish assortment in his physique of labor, which regularly strives for hope, celebration, and group. Lately, he’s extra seemingly simply to close the blinds and return to mattress: “When the satan begins to point out up in your desires/Then it’s laborious to get your desires again,” he observes sadly in “The Amarillo Child.”

And but, “The Amarillo Child” is without doubt one of the most upbeat songs right here, with the form of hummable, singalong refrain that Finn often reserves for the Maintain Regular. The identical method his writing is dense with layers and allusions—observe every use of the time period “fish tank,” and the angle from which every character observes it—the music usually complicates his message, creating a brand new supply of stress. I hold returning to these closing moments of “The Yr We Fell Behind,” the place Finn and Jenkins’ voices construct to a haunted call-and-response. “The satan makes his cash on the small strikes,” she sings. “Suddenly has by no means been his model.” Within the background, the strings crescendo towards a contented ending however the chords by no means resolve for too lengthy, creating the impact of a unending stairwell. On any given pay attention, you may think their voices climbing upward or tumbling down, rising more and more in sync or drifting aside. Finn is aware of the reality is at all times someplace in between.