Gregg Stewart’s Twenty Sixteen

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Gregg Stewart’s run as front man of Stewboss has helped build his reputation as one of the most compelling figures working in the indie music scene today and his first solo, released in early 2017, opened up further avenues for his artistry, so perhaps some might hear it as surprising news that opted to follow that up with a covers album. It’s a mark of confidence and creativity. Gregg Stewart trusts enough the level of respect he’s reached with his peers, contemporaries, and the audience to the extent that he clearly doesn’t feel compelled to pair the opening solo album with a second all-original effort and there’s no shortage of imagination that’s been put into making these songs live and breathe as products of Gregg Stewart’s own experience rather than cheap recreations. Twenty Sixteen, likewise, pays its respect to artists who died in 2016, but never in a down the line predictable fashion that robs any spark from the listening experience. His less than obvious choices are rather delightful.

Beginning the release with a fun, simmering take on Dead or Alive’s eighties global smash “You Spin Me Round” is an astute move. It’s also the first clear signal of Stewart’s capacity for re-imaging otherwise iconic numbers as he recasts the song and Pete Burns’ legendary vocal alike in a much lower key, though still intense, fashion. There’s no instrumental showboating on Twenty Sixteen and Stewart works with a small, complementary four piece throughout all fourteen songs. His collaborators provide steady, seamless support during “You Spin Me Round”. The album’s low key sound continues with his rendition of Prince’s “Raspberry Beret” and it has a sparkling uplift despite the fairly rootsy nature of its playing. The interpretation relies on the song’s classic melody, but it naturally comes off with less of the electric spark that we hear in the original. It, instead, becomes a more affectionate song here. He gives a nod to a young European act that Stewart’s American fans may not recognize, but Viola Beach’s “Daisies” will serve as an excellent introduction to the talents of a youthful outfit tragically killed, along with their manager, in an automotive accident. He takes on late Merle Haggard to outstanding effect with his control and emotive vocal on “If I Could Only Fly” and the melancholy longing filling this song captures some Haggard’s lonesome Okie by way of Bakersfield tilt while still bringing his own distinctive polish to the song.

“High Flying Bird” marks the passing of Jefferson Airplane founding members Paul Kantner and original second vocalist Signe Anderson  and the steady hum of this performance gives Stewart a particularly dramatic forum for his strong vocal. It has an uncluttered musical attack with just the right amount of finesse, warm production, and a mastery of fundamentals that makes it quite entertaining. His concluding cover of “Starman” has much of the same upward lift heard in David Bowie’s original and his faithfulness to the song’s melodic character will encourage any fan of the Thin White Duke. There’s really no other artist to end this release with – Bowie, after the smoke has cleared, still remains the year’s most significant loss and Stewart seems inclined to agree. The folky, acoustic guitar centered air defining much of Twenty Sixteen makes it a totally accessible listening experience and well worth Gregg Stewart’s attention following such a well received first album.

Written by Larry Robertson