It opens on empty. The first line finds Honold confessing to being drained of love entirely \u2014 not a lyric built for comfort, but one built for honesty. And for a beat, you brace for another mopey singer-songwriter wallow, guitar-and-feelings, all confession and no release. Then the band arrives, and the whole thing detonates into sunlight.<\/p>
That’s the trick of “Waterfall,” and it’s a trick very few manage: it doesn’t argue you out of sadness, it simply refuses to let sadness have the last word. Horns needle in against strummed, percussive guitar; strings swell without ever tipping into syrup; layered vocal harmonies pile up like a crowd arriving at a summer show. It’s maximalist in the best, most generous sense \u2014 not overstuffed, but overflowing, the way a good chorus should feel. This is what Honold calls groove-driven rhythmic rock, and it’s an apt description: the arrangement moves like a body does, all shoulders and hips, built for windows-down driving and even more for dancing badly in a kitchen.<\/p>
What elevates “Waterfall” above mere feel-good pop-rock filler is the tension underneath the shine. Honold has been candid about the record emerging from a genuinely difficult stretch \u2014 grief, the ambient dread of political violence, the particular exhaustion of burnout \u2014 and you can hear that weight in the song’s bones even as the arrangement insists on joy. That’s not a contradiction; it’s the whole point. The best summer songs have always smuggled something heavier under the hood \u2014 think of any classic that sounds ecstatic on first listen and slightly devastating on the fifth. “Waterfall” belongs in that lineage. It earns its brightness rather than assuming it.<\/p>
Credit, too, to the ensemble Honold has assembled around him \u2014 real players rather than a laptop’s worth of samples, and it shows in the elasticity of the groove: a rhythm section with actual pocket, horns that phrase like they mean it, strings that breathe. Honold himself is all over this record \u2014 arranging, singing lead, playing guitar and tenor sax \u2014 and there’s a confidence to how he’s marshalled that many moving parts into something this immediate. Nothing here feels like a solo project padded out with session players; it feels like a band, tight and joyful and clearly enjoying itself.<\/span><\/p> The production matches the ambition. It’s warm without being soft, detailed without being fussy \u2014 every layered vocal and string swell finds its own pocket in the mix rather than fighting for space. It’s the sound of a record that was tracked, mixed, and mastered by people who understood exactly what they were building toward.<\/span><\/p> If “Waterfall” is a signpost for where Honold’s forthcoming second album is heading, then the direction is a genuinely exciting one: full-band, big-hearted, emotionally unguarded music that doesn’t flinch from difficulty but refuses to be flattened by it. It’s a song about being carried forward when you don’t feel like you have the strength to move yourself \u2014 and it carries the listener right along with it. Turn it up, roll the windows down, and let it do exactly what it’s built to do.<\/span><\/p> **Verdict:** A joyous, horn-drenched triumph \u2014 proof that the best pop-rock doesn’t ignore the darkness, it dances straight through it.<\/em><\/p>\n\n\n\n\nhttps:\/\/www.kevinhonold.com\/<\/a>\n\n\n\n\n
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