End Of The Middle - Richard Dawson: Review
Review by Lavender:
Richard Dawson is an esoteric and idiosyncratic English folk singer who's been on a critically acclaimed span of records dating back to 2017's Peasant. End Of The Middle follows 2022's The Ruby Chord and is a SIZEABLE downsizing in terms of scope. As some of the more nebulous and indulgent elements of that record were definitely an issue for me enjoying it as much as an album like 2020, I went into Richard's new record hoping for a course correction, and that's kind of what I got.
The singles dropped in reverse order of quality, meaning I wasn't thrilled by the lead single "polytunnel." It has this slinky style of refrains that has always bothered me on Richard songs because it's so hard to take seriously. The way Richard also plays loose and fast with the structure of the refrains also makes the song even less enjoyable.
Next up came "Boxing day sales" which is definitely an improvement. I appreciate the way the song is built around the holidays but is resentfully not a holiday song. It's also stacked full of catchy refrains, which speaking of. The real breakout track has been the third single "Gondola" and it's easy to see why. Every single refrain on the song is just an instant hook and the results are completely irresistible. That's in combination with the fact that it's so well written and cleverly holds off on fully explaining the meaning behind its title until the very end.
Though none of the singles are particularly long, the deep cuts have several 6 and 7-minute cuts. My favorite of the bunch is "Knot" which stood out to me from my very first listen. I love how dreary and quiet the song is willing to be at the start and several of my favorite lyrical moments on the album pop up here. Richard spends much of the track describing his day at a wedding with an extremely satisfying snark cutting through all, of it making for one of the best combos of songwriting and instrumentation I've ever heard from him. I also love "Removals van" which has a flavorful guitar presence I'm enamored by. Alongside Richard recounting childhood memories it manages to feel both nostalgic but also a little surreal and unsettling. It meanders through several stories but never feels like it's wandering aimlessly.
Unfortunately, some of my least favorite cuts on the record are also on the lengthy side. "The question" is nearly 8 minutes and it really takes it's time starting off. While it has its dramatic highs it bookends them with the same silly slinky style of refrains that bothered me on the lead single except this time with dorky little drum lines that make it even harder to take seriously. I'm also mixed on "More than real," a duet of sorts with Sally Pilkington. Her voice does sound good and its sweetness contrasts well with a full record worth of Richard's vocals. But it does seem strange to sort of hand the mic off right at the finale of the record and for one of its weakest tunes.
Thankfully the record also has some shorter deep cuts and they're pretty good. The whole thing kicks off with "Bolt" which is on the lowkey side but still serves up numerous memorable lyrical descriptions across just a few minutes. Speaking of just a few songs later we get the thematic highlight "Bullies." The way it contrasts Richard's own experience with bullies with his son seemingly becoming one is great and the fact that his own memories are so vivid speaks volumes about how much they impacted him.
End Of The Middle is far from the grandest Richard Dawson has ever heard. His unique folk stylings are as recognizable as ever even as he reels himself in just a bit. What results is a record more accessible than most of his releases but one that still displays both his immense charm and his ambitions for flavors beyond what's expected in the sound of contemporary folk. Even without his most spectacular or whimsical ambitions, Richard Dawson still manages to delight. 7/10
For more folk check out my review of The Weather Station's Humanhood
