Few would expect an album entitled King coming out of North Preston, Nova Scotia to be as heartfelt, vulnerable, and sensitive as Keonté Beals’ debut is. The R’n’B star in waiting does not reinvent the wheel but mixes a much more modern mentality in with his influences to provide us with an album encapsulating his experiences thus far.
Beals’ societal awareness and maturity shine through best on the title track “King”, where the 23-year-old manages to touch on an impressive array of topics in under four minutes without the song feeling congested or forced. Racism, masculinity, mental health, police brutality, and religion are all addressed to some extent over minimalist piano keys with soft—at times wavering vocals. Beals simultaneously assures the listener “You are a king” while provoking them to question just what it entails to be so. Beals also strikes a sensitive and supportive tone on “Was It Him”, where he addresses the past trauma stemming from a partner’s previous relationship.
Beals shows little regard for fear of showcasing his vulnerability throughout this set of songs, further providing a breath of fresh air in a genre at times overcome with bravado and posturing. Despite his very apparent talents; Keonté ushers us through some of his more challenging experiences with no efforts to save face. This is never clearer than on “Know Better”, where Beals laments his discovery of a past love’s unfaithfulness. He forgoes stereotypes and seems genuinely and heartbreakingly willing to have continued to live unaware when faced with the alternative of moving forward without them.
“Vodka X Me” switches things up and has Beals taking on a far less sympathetic role. Playing the antagonist in the song; he is out on the town not just in spite of—but to spite his loved one at home. He acknowledges his selfish behaviour and the backing instrumental provides a borderline ominous feeling to a night of alcohol and anger influenced poor choices.
Beals shows that he could very well have settled to showcase his stylings in a more expected or prototypical way. King’s deeper and reflective tones are balanced out by the levity and upbeat dance vibes on tracks such as “Let Go”, “Can’t Get Enough” & “Love Overboard”, two of which bookend the album. These more casually enjoyable efforts help provide a surprising degree of variety in a very concise debut. “Can’t Get Enough” in particular, perfectly draws on the sense of intoxication/infatuation that early relationships can overwhelm you with.
Throughout just eight songs (and one interlude), Keonté Beals gives us a stirring unabridged view of his ups and downs. He can’t be type-cast into any one role but puts on plenty of hats, including his crown.