It has taken us far longer than anticipated to write about this song that we first heard during the last months of 2021, though it does have the honour of being our first review of 2022! It’s safe to say that this song is as fresh and captivating right now as it was when we first heard it. So, without further ado, let’s dive in.

Opening with a simple-though-confident melody, this bluesy song delivers a modern classic that manages to capture the ’60s and ’70s psychedelic pop/rock sound spectacularly – at times hinting towards some of The Beatles and The Monkees more abstract moments, which we absolutely adore. Over the top of these foundations, KC’s voice weaves a haunting tapestry of sound that pairs wonderfully with the biblical imagery, all whilst the warm bass tones hold the song together; adding another melodic layer to the song and giving it a solid backbone with its powerful basslines. A particular highlight for listeners though is from the percussion: at times this is cleverly understated and focuses primarily on serving the song, though there are some wonderful drum bursts that will bring a smile to your face, as you can pick up on the fun being had during the recording process. Watch the video and listen to the song below to see & hear what we mean.

We can understand the song in more depth when reading this quote directly from Killing Cartisano: ‘During her transatlantic adventure, KC entered a Baptist Church in the bay area – just to experience the gospel sermon: “I was the only outsider. Everybody came to hug me. It was like being naked. In the middle of all this life. The Drunk Man. Drunk on Life. Feeling like a part of a whole, I suppose. I don’t know. I don’t figure out my songs. Once they are born they just belong to everybody.” She says, “So the Drunk Man it’s me, it’s you, it could be anybody – dizzy from all the emotion and now in this recording, to be played raw, pure, unfiltered”’.

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