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It’s always been apparent in Luke Winslow King’s music that he’s a New Orleans-based artist. The warm blend of blues, jazz, and folk is so smooth you can practically smell the sweet chicory coffee. But on his latest record, Everlasting Arms, that presence is more prevalent than ever before. Perhaps the most contemporary of any of his previous albums, Arms is heavy on the blues and rock and roll, and of course features King’s lovely longtime collaborator and band mate, and new bride, Esther Rose on background vocals and harmonies.
King’s sound has typically been a bit old timey, but never in a costume-y way. He just has a knack for simple songwriting and capturing a timeless spirit, as well as an appreciation for classic New Orleans music. Arms is a record that feels so poignantly specific of a place, with that gorgeous horn accompaniment on most tracks. “La Bega’s Carousel” in particular features some of the best trumpet playing on the album, spontaneous and flamboyant, adding more of that warmth. This is one of the more old fashioned tunes, and there are definitely a few, but it’s one of the sweetest.
Arms is full of songs that feel effortlessly cool and contemporary, too, like “The Crystal Water Springs” and “Swing That Thing”, both high points of the album. Both of these songs veer more toward a blues-rock sensibility that we’ve always known King possesses, but have never quite seen this fully formed yet. It’s songs like these that will truly make listeners understand and appreciate just how much he is growing as an artist. “Swing That Thing” especially has a sauciness that has maybe been more overshadowed in the past by King’s signature softness. And “The Crystal Water Springs”, too, is King at his edgiest.
Still, though, this new departure from a purely classic sound shows itself on some of his more traditional tunes, too. “Levee Man” is a real New Orleans song, but there’s something sexier and more confident about King’s vocals on it that elevates it to a fresher sound. “Home Blues” is another fantastic example of this seemingly new level of sultriness from King, exuding such smokiness you can’t help buy sway your hips freely as you listen. And that trumpet and clarinet combination is so slinky you may even be down to your skivvies by song’s end.
For such a young artist, King’s evolution from his first record to this one—his fourth—is magnificent to bear witness to, and Arms is an impressive next step. With two intense guitar solo interludes that add a classic rock darkness, it’s clear King is treading new ground. His voice is more resonant than before, and these instrumental arrangements are the most sophisticated yet. King may be one of the most authentic artists making music today, and Arms proves that song after song. His stylish aesthetic and unique perspective will no doubt continue to excite listeners in the future.
For a taste of King at his absolute best, check out the lovely, pared down, country-tinged ballad “Last Night I Dreamed My Birthday”, and the soulful “Domino Sugar”, a love song that’s a delicious mix of Big Easy swagger and addictive blues-rock dustiness that’ll charm the pants off you.
