I was stunned to discover that Dave hasn’t released an album in over four years, but as the review progresses, you will see why the wait was worth it.

You are probably wondering about why that title? Well, it is a biblical reference from the book of Samuel foretelling the story of King David. Quite funny, really, when the artist in question shares the same name.

The production doesn’t lean towards hip-hop and anything that might resemble a banging tune. Instead, it is more introspective, featuring piano, spaciousness, and ethereal tones. Occasionally, the harp features, and Dave even picks up the guitar on the 6th track.

In regard ot the themes, he focuses on dealing with fame, identity, legacy, being a man, faith, and how he has a sense of duty to his listeners and society. Rather than basking in his achievements, he questions what his roleand voice is doing to lead by example.

Now, part of the summary is out of the way; let’s look at the songs that caught my ear:

History:

The opener sets up the rest of the record. Dave addresses everything about himself. James Blake not only features on the track but also produced it, creating a typical atmospheric soundscape that he adopts, complete with tender piano and reverb space that allows the words to land, allowing the listener to engage with the thought-provoking lyricism from Dave, which is always interesting. I have never found him at a loss for words. In fact, let’s look at that on here. Dave refers back to King David, and as the record progresses, you hear why he uses this biblical figure to illustrate power, vulnerability, and how music heals the soul. Never mind, if the track is not for the commercial market, but rather the lyricism and the matching mood of the music.

Chapter 16:

What more can you say? It features the amazing Kano. I have been a fan of Kane since the early days of grime, so this track was never going to be skipped. The pair trade verses, discussing their legacies, the rap game, and how they feel burdened by representing the scene. Once again, James goes for a minimalist sound with his trademark piano chords and a beat that allows for reflection.  Dave pays tribute to Kano, stating that he has been a fan of his since he was 14 years old. Kano also  praises his younger counterpart. The song connects all timelines of UK rap, with Dave accepting his role in its future, while also questioning what he wants and what he owes. The track could have easily been one of pure egotism, but Dave shows humility alongside ambition, and, of course, what his legacy is.

Raindance:

Unless you follow her closely, have seen her at major festivals, or watched Later… with Jools Holland, the Nigerian vocalist Tems, who features, will probably have escaped your attention. The Afrobeats-inspired track, over reflective piano riffs, is more light-hearted than the previous tracks. Dave is more playful with Tems. The lyricism focuses on Dave enjoying a night out, where he meets someone, apologises for future relationship struggles, and references the concepts of marriage and property. This track takes him out of his comfort zone with Afrobeats, but it works well with Tems, nonetheless. A bit of a breather from the heavier songs so far.

Selfish:

James Blake returns from the control room with a heavy, moody, introspective, and self-confessional collaboration. Dave examines what fame has cost him in life, including narcissism, and what his ambition entails. Dave also highlights how his bravado is often laced with self-doubt. A typical James Blake production, leaving Dave’s wordplay time to breathe. Another heavy, but lyrically intriguing track.

My 27th Birthday:

This nearly eight-minute track focuses on self-reflection, with Dave looking inward at his legacy, expectations, age, and how he has evolved.  Again, the production is more of the same, with a blues-inspired piano riff with looping vocals.  The lyrics are used as a metaphor for a day/year that’s in motion or standing still.  Dave once again examines his role in society and considers how he can utilise his voice to create a positive change in the world. He also examines how fame can be a burden rather than a blessing, as he feels that people are being cynical about the messages he is trying to convey. They are using his fame as a weapon against him when he is less likely to return to a life of poverty. A very deep listen.

Fairchild:

Dave gives a chance to the upcoming talent of Nicole Blakk and lets her showcase her views, where she discusses being the unfortunate victim of assault, which has triggered a fear of men, and her experience of misogyny. This evokes emotions in Dave about how incels behave, and he questions why his fellow men more often than not turn a blind eye to this unacceptable behaviour. Dave even questions if sometimes he, too, has shown misogynistic traits, which is perfectly portrayed in the line “All know a victim, don’t know a perpetrator, am I one of them?” It may be a heavy listen, but it is what you would expect from him. It’s a deep track with substance. It is refreshing to see a male address violent behaviour towards, whether he has unknowingly done it himself, and how he feels a sense of responsibility to make his fellow man aware of this abhorrent behaviour.

The Boy Who Played the Harp:

The closing and title track uses a sample from The Beatles. The track’s name eludes me at the moment. This track makes the premise of the album all make sense. The name, the purpose, the record’s identity, the burden he feels, and the activism displayed.  I love the premise behind the lyrics, as he places himself within historical moments, such as world wars and the civil rights movements. He ponders if, like in those moments, he can speak up, act, and lead when necessary. The title track, like the rest of the album, ends strongly, leaving the listener to ask themselves the very questions he did throughout. Bizarrely, though, there is no harp. Just a piano.

Strengths & Weaknesses

Now let’s address where the record is good, and where it falls down:

Strengths

Of course, it has to be his lyricism. I mean, after all, that is what he primarily is. Dave started as a spoken word artist before moving into rap. I love his wordplay, detail, reflection, and how he uses metaphors.

The album is streamlined rather than a mishmash of songs. There is a constant string of themes that remain consistent.

He isn’t coy about asking himself challenging questions, rather than doing a record that focuses on his success.

If you ask me, what are the highlights of the album? Well, it’s all of the tracks above.

When I get to the song recommendations, I’m going to have a think about what three stood out.

This is up there with his best work to date.


Weaknesses / criticisms

This is not my opinion, but looking at it from a critical point of view, you have to say that James Blake’s production is too moody and lacks dynamism.

The tracks are not chart-friendly, both in terms of lyricism and production. There is also a lack of hooks, which may hinder the number of plays he receives in the mainstream.

Some listeners will feel that the themes are more of the same, and doesn’t bring anything new to the table.

Coda

Although the album may not be that chart-friendly, it is full of thought-provoking tracks, which to me, is always better than sacrificing for the sake of the singles chart. It is up there with his best work so far. You just have to look at songs like ‘Fairchild’, ‘Chapter 16, and ‘My 27th Birthday’ to see the maturity in his writing, and how they all have a purpose. It may not have the hits that have featured on past records, but this is one for the deep thinkers, who will appreciate Dave’s approach.
My personal opinon is, I love it. A very strong record that cuts through all the bullshit.

Song recommendations: ‘Chapter 16’, ‘Fairchild’, ‘The Boy Who Played the Harp’

9/10