Incorporating the old into the new has become increasingly popular within pop music. Today’s top names are often seen borrowing riffs and licks from decade-old songs, such as rapper Yung Gravy’s incorporation of The Chordettes’s legendary “Mr. Sandman” intro into “Mr. Clean” and Ariana Grande’s use of Julie Andrews’s “My Favorite Things” in her unapologetically feminine ballad “7 Rings.” Combining old-world styles with new-world lyricism is a feat in itself, and singer-songwriter Kelsey Sprague is a playmaker on the field of amalgamation.
Based in Seattle, Sprague is well-versed in the singer-songwriter world. Her debut EP, Heavy Burdens, delivers jazzy, indie pop that combines rhythmic percussion, sharp melodies, and sticky sweet vocals a la Connie Francis. The five-song project bears raw, honest lyricism that tackles familiar subjects such as heartbreak, body image, and relationships. Flanked onstage by her backing band — Jerett Samples on electric guitar, Charles Wicklander on bass, Halley Greg on keys, and Doug Indrick on drums — Sprague captures the attention of bars, theaters, and houses across Washington.
Heavy Burdens is aptly named. Throughout a twenty-minute space, Sprague touches on the weighted topics of eating disorders and the subsequent struggle to recover, the desperation of trying to save an unfixable relationship, and learning to love without fear. The instrumentals often fall into the background — slow in tempo and low in volume — to emphasize the strength and seriousness of Sprague’s lyricism. Brooding guitar riffs and rhythmic drum beats serve as the mainstay for the EP, drawing on more complicated melodies only when needed to accentuate her message.
But the opening, titular track presents itself with added instrumental ingenuity. Eerie harmonies and echoey, psychedelic instrumentals support “Heavy Burdens” as Sprague introduces her EP with an overarching idea: “Heavy burdens keep close company / They make sure I’m never lonely.” Forlorn, ghostly, and beautiful, Sprague’s use of minor keys and repeating lyrics welcomes the listener into an old-fashioned dusty jazz club, pours them a drink, and settles them in for a whirlwind of emotion.
That whirlwind comes to a head with Sprague’s two odes to relationships: “Siren Song” and the synth-heavy “Can We Go Back.” The latter is an open letter to a relationship falling apart, with heartbreaking lyrics such as, “Can we go back to that day in the park where you stole my heart / Can we go back because it’s killing me to be apart.” Sprague’s pain and desperation toward her lover shine through as she wears herself thin, attempting to fix something that broke long ago. Utilizing distressed, open-ended lyricism, “Can We Go Back” paints a picture we all know too well: not knowing how to say goodbye to someone that already left.
In “Siren Song,” the narrative switches as Sprague asks a lover to let her in, rather than begging them to take her back. Historically, sirens were powerful feminine figures that lured sailors to their deaths using song and sexuality. Sprague, however, flips this notion, luring her prospective victims to love and security rather than death: “Come and stay with me, and I’ll show you a new love.” Her words are supported by a crescendoing synth melody, emulating the rise and fall of ocean tides to further depict Sprague as one of these mythological sea women.
In “Enough” and the tear-jerking “Hear Me Now,” Sprague ventures more into her personal battles. “Enough” consists of a slow bass line and sweet chord progressions over which Sprague details struggling with an eating disorder and body image. The track bears powerful lines such as, “I don’t ever believe I’ll be enough / I know I’m sick, I’m trying to fix it” and “Maybe I can be pretty / If only I could control how I eat.” “Enough” serves as a powerful ode to those who are struggling as well, as if screaming out: “I hear you, and I understand you.”
Subsequent track “Hear Me Now” offers a slightly hopeful note as Sprague appears to be attempting recovery, singing, “Here I am, once again / Putting the pieces together again.” The backing keys and electric guitar fade in and out with Sprague’s vocals, creating a hymn-like sound reminiscent of Florence and the Machine’s “Cosmic Love.” It’s as if she’s her own guardian angel, addressing herself and what she needs to do to heal. The soft and consistent instrumentals — along with scattered a capella vocals — force the listener to face the discomfort and sorrow presented in Sprague’s lyricism without distraction. However, there is no concrete ending to Sprague’s story, and her fate is left to the listener’s interpretation.
With the artfully taboo subjects of Sprague’s lyrics, Heavy Burdens is a beautifully done EP. Sparse background instrumentals force the listener to confront the uncomfortable issues Sprague brings to light. Emitting fairylike, psychedelic vibes combined with the harmonies of Sprague’s impeccable voice control, Heavy Burdens is a pièce de résistance in the world of dream pop and indie singer-songwriters alike.
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