Newfoundland funk maestro Chris Kirby hasn’t released an album for himself in seven years. Between writing for award-winning artists (The East Pointers, Tim Chiasson) and producing award-winning albums (for the likes of Charlie A’Court, Beauwater), he’s been a little bit busy.
With What Goes Around, Kirby has finally returned with a vengeance. The album perfectly blends modern and classic R&B and funk, with Kirby’s smooth voice driving things forward. There’s plenty of soul to spare, and the production is sparklingly polished.
Fun is in abundance here. The songs on the album balance between soulful and high energy tracks to smooth and sensual. Either way, you can practically hear the smile on Kirby’s face as he sings. He’s spent a long time lending his creative talents to other projects. It’s clear that he’s enjoying his well-earned time in the spotlight.
That’s not to say Kirby flew solo with this album. There are a number of collaborations with prolific Canadian musicians. The flirty and dancey “All My Night” features Shaun Verreault of blues-rock band Wide Mouth Mason. Kirby also pays homage to soul icon Aretha Franklin with a cover of “Do Right Woman, Do Right Man” alongside roots and blues singer Suzie Vinnick.
And then there’s “Better Not Let Me Down,” one of the album’s singles. The song exists inside a pressure cooker. The constant build, the insistent synth, and the threatening lyrics all melt into an anxiety-ridden ultimatum inspired by the events of the 2016 U.S. election. Kirby co-wrote the song with Caveboy vocalist Michelle Bensimon after their shared experience at a writing camp in Los Angeles during said election. The inspiration translates well – anyone who spent those months glued to their televisions and social media feeds can probably relate.
Kirby wades into darker waters at some points on the album. “Unreasonable Doubt” is an emotionally volatile track that takes place inside the courtroom of a sexual assault case that’s doomed to an unhappy ending. Kirby passionately sings from the perspective of a judge who’s forced to helplessly watch a guilty man walk free. The minimalist instrumentation highlights the rawness of lyrics like, “I could kill him myself, I could, if I wasn’t bound by the gown and the gavel I would. Not a scared little girl over there, somebody’s daughter.”
The more serious tracks certainly pack a punch, but it’s not all doom and gloom. Kirby’s tribute to his wife, “Victoria”, stands out as a giddy, groovy love song. The sunny guitar, hand drums and horns combine to make an infectious rhythm. Kirby’s vocals, while sublime, conjure the familiar scene of singing loudly and offkey to your lover in the kitchen during breakfast. It’s a perfect lovesong.
The album finishes on a chill and sultry note with “Table Wine”. It paints the image of late, drunken nights with a lover, continuing the trend of Kirby’s alluring vocals. For that reason, it’s a fitting note to close the album out on.