By Evan Falls
“Some of the best songs I’ve ever heard operate within the vernacular of prayer,” says Irish singer-songwriter Glen Hansard. From the opening line on “Didn’t He Ramble,” his second solo album (not including a pair of EPs), he mirrors this belief. On “Grace Beneath the Pines,” he begins with his thesis: “There’ll be no more running round for me/No more backing down, you’ll see/Whatever lies in store for me/I’ll get through it.”
Hansard quit school at 13 and committed himself to busking on the streets in Dublin. In 1990 he formed the Irish rock band the Frames, and in 2005, he starred in and wrote music for the Oscar-winning film “Once.” Now, after 25 years, he has looked back on the events of his life and crafted songs that sound like a homecoming or a “return to roots.” The album reveals the influence of Bruce Springsteen and Leonard Cohen in its appeal to blue-collar people. “Didn’t He Ramble” plays like a prayer, honestly expressed in its emphasis on hope.
The optimism is refreshing. Although most of Hansard’s music conveys a sense of hope, some of his previous releases are characterized by struggle, sadness, and loss. This shift in tone makes for an interesting pairing of the album with its predecessor, 2012’s “Rhythm and Repose,” on which Hansard’s pain comes strongly to the forefront in his vocals. “Didn’t He Ramble” is more assured. The album arc feels like watching an unknowingly selfish teenager experience heartbreak, only to grow up, recover, and start to realize everyone else around him has either been through the same or worse. With age, sadness goes out of fashion.
Hansard’s newfound focus on subjects other than himself creates a sense of variety and community. “Grace Beneath the Pines” is told from the perspective of gospel and soul great Mavis Staples. “Winning Streak” started off as “Losing Streak” but ended up as what Hansard referred to as a “blessing” to a friend who can’t seem to turn himself around. Influenced by the New Orleans brass sound, “Lowly Deserter,” the highlight of the album, is about a soldier who’s been at home or abandoned the war effort, sitting in the pubs telling stories as if he was actually there. Boasting intricate flute melodies, “Just to be the One” is a quiet and foreboding song about a dog named Raga.
For those who prefer something more in the vein of Hansard’s busking days, the stripped-down acoustics of “Wedding Ring” and “Paying My Way” will be appreciated. They sound as if Hansard is at home playing with friends. For an artist known to like being at the center of attention, this willingness to surrender the spotlight shows his growth as a musician.
“Didn’t He Ramble” is an album of prayers and a reinvention for Hansard, whose musical and life experience has allowed him to take the role of a supporter in the lives of many. The songs, while constructed as a slight departure in instrumentation from his other works, are written much in the manner of traditional Irish writers. They comprise a triumphant and humane album of poise and maturity, and a testament to the strength of companionship.
