‘Geography’ is next and also is a reflection of home and identity (“Eucalypts after rain/Remind me who I’m again”) interpreted by plucked guitar, a slightly more upbeat pace, and sung with more joy and expression. It too is supported by a strong melody which is a feature of Barker’s music. ‘The Woman Who Planted Trees’ is about Kenyan activist, Wangari Maathai who founded The Green Belt Movement in order to reforest degraded land to provide food and empower women in her community. Since its establishment in 1977, over fifty million trees have been planted in the region, and over thirty thousand women trained in forestry, food processing, beekeeping and other trades that provide an income as well as protect and nurture the environment.

“It’s a matter of life and death for this country. The Kenyan forests are facing extinction and it is a man-made problem.”  Wangari Maathai

The lyrics are worthy of inclusion here:

I can tell my age
By the height of trees
By the years they’ve stood
Growing over me

When I was a girl
You planted seeds
And cast your love
Forever over me

When the land was dry
No food to eat
When the soil was sick
And the river weak

You took a spade
Bare hands, bare feet
And sowed your love
Roots down deep

In the cool, dark shade
Leaves sing your name
Wild green tongues glisten in the glade
Your branches warp, my fingers weft
Weave me through this gift you left

From a prison cell
You dreamt of trees
Blood dried black
Upon your cheek

You didn’t know
Around the world
People listened
People learned

Water returned
Soil healed
Hope restored with every yield
Trees grew high
Bones grew strong
Enough for everyone

In the cool, dark shade
Leaves sing your name
Wild green tongues glisten in the glade
Your branches warp, my fingers weft
Weave me through this gift you left

I can tell my age
By the height of trees
By the years they’ve stood
Growing over me

In 2004 Professor Maathai became the first African woman to receive the Nobel Peace Prize which was awarded for her “contribution to sustainable development, democracy and peace.” Though she passed away at the age of 71 in 2011, her legacy lives on with seeds and saplings planted years ago now towering as mature trees above the people in the community.

“I saw a short documentary about her which included interviews with her daughter, Wanjira Mathai, as she walked through the beautiful forests planted by her mother and friends. In the desperate context of our times, we can look to people such as Wangari Maathai and The Green Belt Movement for inspiration, knowledge and instruction.” Emily Barker

‘Where Have The Sparrows Gone?’ has a darker instrumental backdrop and vibe with a vocal that matches the song’s worrying sentiments. For me, this is one of my highlights of this great record with its soaring choruses, powerful melody, expressive vocal and another set of poetic, impactful lyrics:  “Wild fire, wild weather/The prophecies came true/We read about them years ago/No one to blame but me and you/Where have the sparrows gone? (repeated)/Took too much from the ocean/Took too much from the earth/We took more than we needed to/More than we could return.”

‘Strange Weather’is Barker at her most expressive and sincere with a song that tries to explain to others what we collectively have done to create climate change. The vocal is wistful and sad with moments of soaring regret (“After both of us have gone/I hope you’ll look back and forgive/Us for what we’ve done”). But there’s optimism here too as she predicts conscience and action may react to the damge done.

‘Machine’ changes up a gear with sonic diversion in the form of choral vocals, an array or percussive sounds and a distinctly Gospel feel. ‘When The Stars Cannot Be Found’ changes sound again with a distinctly country feel complete with tumbling banjo and bouncing vibe. ‘Ordinary’ introduces strings for the first time in a forward role which again offers a diverse instrumental approach which is beautifully arranged, and with swooning backing vocals adds depth and emotion. In addition, their a folk/blues flavour to the song which works so well.

‘Any More Goodbyes’ moves at a lumbering pace with resonating guitar and deadbeat drums supporting my favourite vocal performance here. There’s a monster melody and hook-laden choruses that translate into a song that so easily could be blaring out on BBC Radio 2 airwaves. ‘Sonogram’ features a piano backdrop for the first time on a beautiful ballad with Barker providing another passionate and expressive vocal performance in a song that reminds me of Radiohead. But before the end arrives there’s a rushing sound that I understand is a huge flock of Starlings overhead…It’s a stunning end to one of the most beautiful albums of the year.

5/5

https://www.emilybarker.com/