Twice Juno-nominated Canadian singer-songwriter Terra Lightfoot continues her steep trajectory, with her third album, Healing Power. While the word ‘trajectory’ connotes a high altitude, the album covers and jacket photos that depict a lone tree in the meadow of the Austrian Alps is more than symbolic. It was the only tree living at that altitude and Lightfoot took sustenance from it, as the tree meant strength and perseverance in the face of disappointing relationships, that lie at the heart of so many of these songs. The resulting Healing Power is the globally touring artist’s sixth album with producer Gus van Go. Most of these tracks were recorded with her live trio of bassist Elijah Abrams, and Blue Rodeo drummer Glenn Milchem. Van Go contributes synths, bass, and guitars on select tracks, drummer David Matta appears on a couple, and Lightfoot, plays guitars, synths, keyboards, and all vocals.
The album kicks off with catchy, rhythmic hand-clapped single “Cross Border Lovers” and continues with the layered vocals in the poppy singalong “Need You Tonight,” the trio of Lightfoot, Abrams, and van Go doubling on drums and synths creating an immense sound. “Long Way Down” is more club-like danceable fare as Lightfoot sings admonishingly to one who can’t seem to get it together. The syncopated “Someone Else’s Feelings” stays in a similar musical context as the protagonist struggles to feel free, burdened with another’s emotions.
The tick-tock rhythm of “Kept You in My Pocket” has Lightfoot wailing about a missed opportunity. She pays homage to a friend in the gently flowing “The Only One of Your Kind,” with the instrumental lifting joyously on the choruses, Lightfoot adding her own woos and oohs as background vocals. “Come Back Around” chugs along as Lightfoot reprises the theme of holding out the faintest of hopes for one who’s on the wrong track. Standout “Anybody But Me” is pure power pop with its resounding chorus, as her command of dynamics and the balance of venom of just straightforward derogation makes it work well.
In the mid-tempo ballad, “Fired My Man,” Lightfoot delivers a convincing aching vocal expressing regrets about a relationship she ended, punctuated by what could become the ultimate colloquialism for one starting anew – “I turned in my key and fired my man.” Yet, despite her decisiveness, she has lingering second thoughts. Her vibraphone adds a clever light touch to the otherwise dense sonics of the yearning “Penchant for Love.” The rhythmic hand clapping of the opener reappears in “You Don’t Get Me Now,” with Lightfoot getting beyond sassy to revengeful. She casts all negativity aside for the closer, “Out of Time,” even citing that lone tree in the Austrian Alps. It’s only fitting that she caps this effusively buoyant, albeit at times poppy to a fault, effort with a cheerful exit.
