Daniel Caesar’s recent pop-up concert in Los Angeles arrived with the blare of police helicopters ringing and freeways brought to a halt. Caesar’s newest album, “Son of Spergy,” feels equally unkempt and raw. This album refuses to ask for or want approval. A rebellion from the polished sound he’s famous for and from the industry standards of modern R&B, the album, released on Oct. 24, bleeds with unapologetic humanity.
This popular artist from Toronto has been known for his smooth voice and equally smooth tracks, exemplified by songs such as “Best Part” off his album “Freudian,” and “Always” from his album “NEVER ENOUGH,” attaining nearly 2 billion streams and 600 million streams respectively. However, “Son of Spergy” shatters this image.
The rollout reflects the album’s spontaneity: Caesar hosted pop-up concerts announced only a day before, with the Los Angeles pop-up location announced just minutes before the concert. At the LA pop-up, Caesar performed the world premiere of “Emily’s Song” and offered an early preview of songs such as “Who Knows” and “Baby Blue.”
Caesar released three promotional singles: “Have a Baby (With Me),” “Call On Me” and “Moon,” featuring Bon Iver. Each single introduced a different element of the album, with “Have a Baby (With Me)” having an almost stubbornly non-commercial, slow-building sound—a recurring theme of many songs on “Son of Spergy.” In contrast, “Call On Me” is upbeat alt-rock, foreshadowing the gritty nature of the album. Finally, “Moon,” a two-part odyssey, highlights the album’s unstructured yet cohesive nature.
Even with the leaks, teases and live previews, “Son of Spergy” feels elusive until you listen to its opening song, “Rain Down,” featuring Sampha. Caesar immediately transports the listener to a gospel sound, the defining sound of the album, with big church choirs and soft keys. While Sampha could have been given the chance to contribute more, the British singer’s background vocals created a solid backbone that the rest of the album is laid upon.
The spiritual awakening is best seen through “Who Knows,” which is arguably the centerpiece and standout on the album. Imagine Caesar staring at a reflection of himself in a pond, asking what of himself he’s willing to forgive while feeling uncertain, doubtful and ashamed—not because of his personal love, but because of how he critiques and self-sabotages in his own relationship. The gentle guitar listens. It’s not gritty, nor experimental, but it’s the Daniel Caesar we know.
“Emily’s Song” is the answer to Caesar’s thoughts and reflections. Throughout the charged and catchy melody backed by similar guitars, Caesar writes a love letter after the heartbreak has settled, appreciating their times together and expressing gratitude for the pain he’s grown from.
The album closes with “Sins of the Father,” which also features Bon Iver. After Caesar’s spiritual and healing journey, the song wrestles with his complex relationship with his father. In the first half of the song, he details his reconciliation with two different “fathers”: God, whom he turned his back on after leaving home, and his biological father, Norwill Simmonds. With the heavenly choir vocals and passionate drums, this song is akin to the end credits of a movie. In the latter half, Caesar sings in a child-like cadence over a washed-out piano, recounting his biological father’s sins—such as forgetting Caesar’s birthday—while coming to terms with the fact that he is just like his dad.
Tackling such vulnerable themes as love, heartbreak, conflict and faith, Caesar’s new album is arguably his most cohesive. However, since “Son of Spergy” prioritizes meaningful lyrics over musicality, Caesar’s melodies are sometimes repetitive and dragging, especially in “Rain Down” and “No More Loving (On Women I Don’t Love).” There may not be a definitive Billboard song as popular as “Best Part,” but after listening to Daniel Caesar’s “Son of Spergy,” perhaps that’s not the point.
Our rating: 8.67/10
