Today, we have two collaborations that are worth listening to.
“Listening”
Autumn Nicholas featuring SistaStrings
Written by Autumn Nicholas
Jonathan Keefe: It’s been a few months since we last covered an Autumn Nicholas single, and “Listening” continues their trend of starting out extraordinary and somehow getting better with every new offering. Both of today’s entries are just flat-out gorgeous: The lush backing by SistaStrings on this is the perfect compliment to the warmth of Nicholas’ vocal timbre, as their voice glides above the gentle piano and string arrangement.
As on each of their prior singles, Nicholas impresses for the depth of their empathy. “I promise this / Even in the silence / I’m listening,” is a statement of such clear-eyed purpose in its connection, as Nicholas is reaching out to someone who is in the throes of pain. The vulnerability on this feels radical.
In his eulogy for Olivia Newton-John, critic Walter Chaw said, “Her brand was kindness,” and noted what a rarity that is. “Listening” clarifies that Nicholas is picking up that vital thread. And this may be the finest example yet of how their powerful songwriting gives voice to how their intentions and interiority translate into acts of kindness and compassion. Nicholas is an absolute treasure. A
Kevin John Coyne: Oh, the humanity.
There’s such an empathy to Autumn Nicholas’ work. They have this ability to reveal intimate truths with carefully chosen details, delivered with nuance by a vocalist with few peers. Don’t underestimate what Nicholas is able to accomplish here. They’ve made a song about silence, which is no small feat.
What I love the most is how “Listening” reminds me of the best of nineties country. My ultimate litmus test is whether or not I can imagine one of the greats from that era including a song on one of their albums. This one feels like a lost Faith Hill track to me, one that would’ve had me seeking out the songwriter’s original recording back in the day, à la Angie Aparo. A
“I’m Movin’ On”
Rascal Flatts featuring Kelly Clarkson
Written by Phillip White
KJC: There was a brief window of time when I was a Rascal Flatts fan.
It lasted for two singles. “I’m Movin’ On” and “These Days.” That was it.
Too much Gary LeVox for too many years eventually soured me on the latter hit, but the first one still holds up. It’s one of the best songs of the oughts, deservedly winning Song of the Year at the ACM Awards.
Clarkson’s vocal performance blows LeVox’s original out of the water, and the less said about his one line of lead vocals on this track, the better. The boys are smart to stay out of Clarkson’s way as she puts her own spin on this classic composition, revealing new layers of truth lurking underneath very familiar ground.
The only misstep is when they go big in the chorus, production-wise. It undercuts the intimacy established by the rest of the track. Besides that singular flaw, this is a warm and inviting cover that compares admirably to Clarkson’s own best work. B+
JK: When it comes to what’s she’s recorded for her own studio output, Clarkson has shown exemplary taste. With the wildly popular “Kellyoke” segment of her talk show, she’s instead highlighted her knowledge of killer deep cuts alongside her love for hits that are wildly popular, if not necessarily great.
Rascal Flatts falls into that latter category.
But Clarkson does with “I’m Movin’ On” what she so often does in her “Kellyoke” performances: With her technical skill and generational interpretive gifts, she takes a real ownership of a song. Gary LeVox is given just a single solo line on this collaboration, and his aged voice is even more nasal and shrill than it was in his prime. Beyond that? Rascal Flatts have the good sense here to cede the floor to Clarkson and provide only some pleasant harmony vocals.
Clarkson has often cited Trisha Yearwood as one of her primary influences, and it’s high time that Clarkson takes her place in the overall conversation about the finest vocalists in modern pop. Her interpretation and phrasing on this performance are masterful work that truly recalls Yearwood’s best. And while I wouldn’t have expected a Rascal Flatts cover to rank among her own best work, that’s exactly what she’s accomplished here. This is just gorgeous. A
Yes! Clarkson makes this song that that I liked well enough into one that I now love. Her vocals are sublime. I’m not sure why Rascal Flatts stepped back on this one, but it was one of their best choices of their career.:)
I’ve had the pleasure of seeing Clarkson live on three occasions; her vocal talent can’t be overstated. Maybe the material isn’t always up to the level of her skill set(though I personally think she has yet to release a “bad” album), but she absolutely should be in that conversation with modern pop’s finest vocalists.
She often covers songs better than the originals.
Thanks for talking about the Flatts/Clarkson collab! As a longtime Flatts fan, I will cede LeVox sounds a lot more nasally here (strangely this is entirely absent, in my estimation at least, on their recent Jonas Bros collab ‘I Dare You’) and so I’m glad they stepped back and allowed Clarkson to make this masterpiece hers.
Great analysis all around from everyone!!!