The deep past underpins and warps the frenetic present, when Biblical devotion becomes a hot love affair (“Nae-Nae and Ruthie,” a blues inflected reframing of the Old Testament story) and when questions of faith and doubt (“I Hope He Comes Back”) resolve in the eternity of a single tree, toughing it out in the middle of a city (“Learn to Bend”).
For Warren, this was familiar territory, yet she had never worked so explicitly with these musical influences in her earlier, singer-songwriter work. “When [longtime friend and Grammy Award winning producer Ben] Kane and I began talking about this project, I immediately started thinking gospel,” a sound that bursts through tracks like “Move!” “I grew up Southern Baptist, with an incredible choir at church. I started listening to old recordings of various gospel choirs, to the blues. I began learning the language again. It’s always been a part of me.”
- Trista Yeager