
By Brian Rock
Sophie Gault blows the doors off on her third album, Unhinged. A true firebrand artist in the tradition of Tanya Tucker, Gretchen Wilson, and Lindi Ortega, Gault comes out swinging from the very first notes and lands punch after punch of high-impact honky-tonk, outlaw country, and southern rock.
“Love’s Gonna Live Here,” starts the party with scorching electric guitar and pounding drums. Given the explosive nature of the song, you would never suspect that this is a breakup song. Finding herself alone, presumably by her own choosing, Gault wastes no time wallowing in self-pity. Instead, she straps on a guitar and declares triumphantly, “The sun’s gonna shine in my life once more. Love’s gonna live here again.” With a rhythm section driving like a runaway freight train, Gault doesn’t hope for better days, she is going after those better days herself – at full throttle.
“Pocket Change,” channels the defiant energy of Lindi Ortega as Gault issues an unequivocal demand for respect. Starting with acoustic, Piedmont Blues rhythms, the song soon erupts into a raucous outlaw country stomper as she declares, “I’m nobody’s pocket change… I don’t want to love you anymore.” She turns the amps to 11 on the fiery outlaw country of, “Whiskey Would Help.” She delivers a rowdy, honky-tonk anthem to late-nighters on, “Last Call Rock and Roll.” “Stowaway,” combines Joan Jett intensity with southern rock licks to warn an unsuspecting target that she’s about to, “stowaway in your heart.” She even out rocks the Rolling Stones on her cover of, “Stop Breaking Down.” Her searing vocals make Mick Jagger look like a choir boy. Adding a haunting, swampy vibe to her honky-tonk on, ‘Unhinged,” she issues a warning to future paramours.
For those who don’t heed the warning, “Merlot Dodge Dart,” reveals the consequences. A smoky, blues-tinged slow burner; Gault moans, “You killed my buzz and you broke my heart.” Filled with fury, she suddenly spies her ex’s car and continues her story: “I must admit it felt so good when I dug my key into the hood.” Gault does take a moment to reveal her sensitive side on the tender ballad, “Is There Anyone Out There.” Between the highs and lows of seeking and losing lovers, Gault finds herself somewhere in the middle in the lively Piedmont Blues of, “Chestnut Street.” Not seeking a lover, not angry at a lover; she just wants her lover to, “tell me what I am to you.”
Facing all of love’s facets with a fiery intensity, Gault seems to experience emotions on a deeper level than most. Whether the emotion is good or bad, she uses it to propel herself forward to her next adventure. Like a theme park hypercoaster, Gault’s music takes life’s twists and turns at full speed. Her music is fast, and frantic, and one hell of a ride.
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Brian Rock
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