Dermot Kennedy – Dermot Kennedy
Dermot Kennedy is a twenty five year old singer-songwriter who honed his craft busking on the streets of Dublin. He he has over three hundred million streams on Spotify. I’d never heard of him before listening to this album, which is largely a gathering together of the singles he has released over the past few years.
But those singles have received considerable backing from big beasts of the music industry. Power Over Me debuted on Annie Mac’s Radio One Show in the prestigious Hottest Record in the World slot. Moments Passed premiered on Zane Lowe’s Beats One show.
His self-titled debut album was released on January 4th, and its an unusual record. There’s a lot of sadness and loss tinged throughout the record, with love and spiritual imagery featuring regularly as well. That being said, the album never really feels like a collection of songs that belong together. There’s nothing that binds together the various songs and both the tempo and ‘vibe’ of the album oscillates wildly.
The most notable asset on this album is Kennedy’s voice. Hovering somewhere between David Gray and Marcus Mumford, it is full of power and emotional heft and when it is used correctly gives an impressive rawness to the songs. Unfortunately, it is very rarely used correctly.
From the outset, the production on this album drowns any emotional heft the demos had. Album opener Power Over Me is a love song that feels insincere due to overproduction, with its big backing vocals and mass-appeal stabilisers.
Moments Passed has some heartbreaking lyrics (She said, “Oh, I know that love is all about the wind, How it can hold me up and kill me in the end”, Still I loved it, Does that mean nothing to you now?) but is renderer oddly soulless and pedestrian through the whirring, unnecessary noise.
The entire album continues in a similar manner. On almost every track I found myself writing negative comments about over-production, or emotions being diluted. I found myself wishing I could hear the acoustic versions of the tracks, to try and connect with Kennedy’s initial intentions. It’s no coincidence that the first three minutes of – the acoustic – An evening I will not forget feels like the most honest and straightforward on the record, until the unnecessary strings join the party.
Sadly this album has few redeeming features. Overly baggy (it’s drags quite badly towards the end), drowning in production to the point of soullessness and feeling relatively insincere, I hope Mr Kennedy is able to go back to basics in his future work.