Human experience can be very complex, but in reality, it all ends up boiling down to the same big recurring themes: love, family, faith. In her fifth solo album, the SAULT vocalist returns to act as a prophet, sending gratifying messages and convincing the listener that everything will turn out fine in the end if one remains true to oneself. ‘Gentlewoman’ follows in the footsteps of her previous works, and like them, it is filled with buried emotion, a calm that embraces and protects.
On the cover, Cleo Sol appears in the darkness beside an open door through which light escapes: an image that captures not only the hopeful message she sends but also the effect her own music achieves. The opening piano notes of ‘I Only Look to You’ feel as if a cloudy sky were opening. The sweetness of her powerful voice floods a minimalist composition in which she speaks to God, her heart full after finally feeling at peace with herself. Inflo’s production, her husband and frequent collaborator, gives the singer a privileged space to unfold her warmth, wrapping her in subtle atmospheric embellishments. Although there are often many elements in the songs, the feeling is never overwhelming or explosive, but rather as if Cleo Sol were singing directly in your ear.
In ‘Sweet Thing’ there are choirs, percussion, brass and strings, and yet there is never a moment when the instrumentation eclipses the voice. Across the album, as in the singer’s catalog, everything is elegant, timeless, and delicate. Halfway between neo-soul and R&B, songs like ‘Gentlewoman’ stand out for their production’s clarity and seductive melodies. More layered and equally effective is ‘Imagine’, a sumptuous feast for the ears, with layer after layer of instruments, reverb, and a vocal performance that takes your breath away.
With no interest in immediacy, Cleo Sol and Inflo build a work that does not rely on easy hooks and grows through small details. Despite what might be apparent at first glance, the sonic palette they handle is far from one-dimensional. It is a compact and cohesive collection of songs, but also varied.
The gospel of ‘Let Me Cry’, in which the artist defends her right to express vulnerability after a tough day, is one of the brightest moments thanks to the melismas of her voice, the backing vocals and the elegance of the piano. After that moment of spirituality, ‘Family Ties’ brings things down to earth with a haunting synthesizer and lyrics less crystal-clear than she usually crafts. Here a family dispute is depicted, charged with resentments: “In your anger you show me where your loyalty lies.” Some of that disappointment continues in the splendid ‘Their Smiles Are Not The Same’, a journey that begins with a simple percussion pattern and ends up becoming an imposing track in which the chorus reappears, joined by a string orchestra, piano, and electric guitar. Equally grand is the guitar-driven R&B of ‘All Because of Love’ which stretches to six minutes.
In contrast to these catharses, ‘Honest Talk’ stands out for its instrumental simplicity, with only an acoustic guitar and light touches of piano. In its lyric, Cleo Sol returns to her usual positive philosophy: “Our love is a special place / we will overcome anything.” Another great stroke of genius is when the artist opts to incorporate Latin rhythms into the compositions. ‘Force of Love’ flirts with the sensuality of dancehall, giving rise to one of the catchiest moments of the project. While the bossa nova of ‘Sentimental Love’ successfully evokes the very Sade herself.
With 15 songs and well over an hour in length, ‘Gentlewoman’ can be intimidating at first glance, but soon the beauty of the compositions, the exquisite production, and Cleo Sol’s formidable vocal technique exert a hypnotic power. It is an epic, measured album, entirely detached from any fashion or trend: delicate and triumphant music, made to endure over time.
