Brendan Staunton
“We Can’t Talk About It” will strike a familiar chord with anyone thirty or over. The lyrics portray the finishing end of a relationship when it looks like all possible remedies are exhausted and you’re waiting for the proverbial other shoe to drop. Anyone who has lived enough knows long-standing relationships rarely end suddenly and often die deaths by a thousand little silences that expand the distance between two individuals until they can no longer bridge the gulf between them. It begins Brendan Staunton’s first album in thirty years, Last of the Light, in impressive fashion.
Staunton’s first extended foray into the music world ended in the 1990’s after he felt he had gone as far he could go. He turned his attention to making a life for himself outside the music world but it remained close to his heart during that hiatus. Stanton’s return to an active music career began with his contributions to the Cross and Quinn album Red Sky Blue and it spurred him to creative life. Songs such as “River” come from an inspired place, without question, and the marriage between its soulful musical strands and Staunton’s emotional singing soon becomes a hallmark for what sits this collection apart from your typical fare.
“Smiled” is another emotional high point on Last of the Light.
The narrator’s obvious affection for the song’s subject cuts through the pain present in nearly every night and Staunton makes that agony come alive for listeners. His talent for stellar song construction shines through once again. It is likely many will think “Nine Day Wonder” is one of the album’s best songs and there’s no question it boasts one of the best set of words on Last of the Light. His singing digs deep under the song’s skin and fills every line with authority and emotional presence that holds your attention from beginning to end. It’s likewise another example of his talents for building songs both as a writer and performer.
The narrator’s obvious affection for the song’s subject cuts through the pain present in nearly every night and Staunton makes that agony come alive for listeners. His talent for stellar song construction shines through once again. It is likely many will think “Nine Day Wonder” is one of the album’s best songs and there’s no question it boasts one of the best set of words on Last of the Light. His singing digs deep under the song’s skin and fills every line with authority and emotional presence that holds your attention from beginning to end. It’s likewise another example of his talents for building songs both as a writer and performer.
DOWNLOAD “LAST OF THE LIGHT” https://www.brendanstauntonmusic.com/about-brendan-staunton/
“A Moment” and the album’s final curtain “A Girl” take Last of the Light in a different direction. The former cut incorporates a strong rock flavor thanks to the fiery guitar solo near the track’s conclusion. “A Moment” likewise gains a lot from a first-rate bass line providing a solid foundation for the performance. The latter track makes creative use of synthesizers without contrasting too much with the album’s earlier songs. The finale shows, as well, the versatility of Staunton’s voice. These songs may not be the pinnacle of his achievement on Last of the Light, but they serve an important role by serving notice of Staunton’s capacity for surprise.
Some loves never die. Life’s fortunes, or lack thereof, may steer us in less than desirable directions, but often our inner compass will draw us back to true north.
This is Brendan Staunton’s story. Last of the Light experienced a thirty-year gestation and the songs are better for their extended birth. They are bursting with humanity and certain to touch many hearts.
This is Brendan Staunton’s story. Last of the Light experienced a thirty-year gestation and the songs are better for their extended birth. They are bursting with humanity and certain to touch many hearts.
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Trace Whittaker
Newcastle-upon-Tyne
7/2020
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