On her debut album, Chicago-based multi-hyphenate Kara Jackson (fridahalo) explores trust, privileges of love and the cruelty of death. Read bigugly's review here:
.” Rawness is revered; channeling emotions through music, while obfuscating how curated those revelations are in the songwriting, is an artistic achievement. But, the discursive application of “rawness” alludes to the quality being gendered and racialized, unsubtly suggesting that off-the-cuff emotions in the music industry are reserved for, primarily, young white women.
What the Chicago-based interdisciplinary writer and musician Kara Jackson accomplishes on her debut LPis not “raw,” at least not in the sense that the writing is unrefined or off-the-cuff. Instead, that distinction comes through how the listener is made tolistening to Jackson’s cosmic country jams. Lines like “Some people take lives to be recognized” are delivered with nonchalance, and the way she belts “don’t you bother me” over swirling harp notes elicits chills.
Across the album, Jackson’s expert guitar work and lyricism reveals an extensive archive of her relationships with peers, partners and more who she’s entrusted with her love. Many of those people are men who’ve mishandled that love. “Dickhead Blues” speaks on it with the necessary crassness required to describe exactly what these men, and their antics, resemble. They’re pompous, self-absorbed, ignorant. With every passing note, she grows more courageous, promising to swear off foolish boys.
Perhaps the most nakedly devastating passage appears on the title track, where Jackson addresses the cruelty of death. She’s open about the tragedies she’s experienced: the death of her best friend and supportive relatives, the racist necropolitics that policymakers let run wild when they grew weary of the pandemic.
“Lily,” one of the album’s briefer moments, has its own power that shines between the record’s broadest tracks. It’s a gentle march —celebrating eternal friendship —and stands out from Jackson’s explorations of betrayal and tragedy. Her encounters with grief are multiple and multifaceted, threatening her concept of herself, making it harder and harder and harder to love again.
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