Keaton Henson is a purist singer-songwriter that wears his old soul on his sleeve.
Pryor Stroud: It's a radical understatement to say Keaton Henson's music is introspective. He doesn't just look into himself to craft his bedroom folk dirges, as the etymology of "introspection" suggests, he stares, his flinty eyes wide open. Gifted with a fragile, tender-souled singing voice that splits the difference between Tobias Jesso Jr. and Elliott Smith, he's a purist singer-songwriter that wears his old soul on his sleeve. On "Alright", the latest release from his upcoming LP Kindly Now, he strikes a more optimistic tone than the grayscale melancholy of 2010's tragically beautiful Dear, yet his voice remains an instrument carved from heartbreak, gloom, and cripplingly intense longing. "You'll be alright / Come and see me in the morning", he sings at the beginning of the chorus, the word "alright" less a collection of syllables than a passionate sigh of relief, and as he gradually presses harder down on the piano, the happiness that this morning promises fades into view -- a sunrise breaking over a new beginning. [7/10]
Chris Ingalls: Are music videos that take place in karaoke bars the new thing? I swear this is at least the third one I've seen so far. No matter. I kind of like this, but I can't completely devote myself to it. Henson's got a lovely voice and the song is decent, but I can't help thinking that it's got an overly earnest, pandering style to it that seems more suited to TV drama montages, like something they would play on Friday Night Lights during a breakup scene. I don't necessarily dislike it, but it seems like a bit generic. [6/10]
Chad Miller: What kind of commentary was he trying to go for in the beginning on the song? Anyways, past that the song is a pretty okay breakup song. The melody and chords are pretty good in the sections where Henson increases intensity. I would have liked the song to be more specific though. It seemed too vague to evoke much emotion. [5/10]