Review: Craig Finn - Always Been

Always Been is a brilliant collection of protagonist-focused stories, uncovering one man’s drive for redemption, self-improvement and confession.

You have to imagine a matchup between Craig Finn (lead singer of bar rock enthusiasts The Hold Steady) and Adam Granduciel (acclaimed producer and War On Drugs frontman) is the stuff of wet dreams for many a middle-aged indie rock fan.

And this coming together for Finn’s sixth solo LP is an absolute heartland rock treat. Always Been is a brilliant collection of protagonist-focused stories, uncovering one man’s drive for redemption, self-improvement and confession.

“I believe this to be the most narrative record I have made”, states the 53-year-old singer in a press release, an album centred around a former-clergyman. ‘Bethany’ fittingly gets the ball rolling by introducing ex-preacher Clayton. Warm and mid-tempo, Finn grips us on every fine detail of the protagonists fall from grace.

There’s then a familiarity to second track ‘People of Substance’ in its punk grit style of The Hold Steady, while, lyrically, the protagonist is looking to find his place in the world. Similarly, confessional ballad ‘The Man I’ve always Been’ has the former preacher reflecting on his past life, picturing his congregation “all of them so terrified / but none of them as terrified as me”.

Elsewhere, Finn is at his nasally voiced best on spoken word ‘Fletcher’s’. It’s aided by some lovely twinges of psych-infused guitars and features an engrossing tale set over both a house party and the morning recovery.

Occasionally, there’s a detour from the central premise. ‘Luke and Leanna’ is upbeat and earwormy, using 80’s Springsteen organ hooks, though revealing a faltering tale of a decade-old relationship.

Solo by name, Always Been is nothing without collaboration, however. Members of War on Drugs gorgeously soundtrack these stories, while Adam Granduciel’s guitar work adds extra depth to proceedings (his chilling solo on ‘Bethany’ is worth the admission price alone).

Sometimes it should go further. Sam Fender’s appearance is certainly a coup, but his muted backing vocal appearance on ‘Postcards’ feels like a wasted opportunity considering the Geordie singer’s current profile.

Finishing on hopeful acoustic curtain closer ‘Shamrock’, Craig Finn’s unique style of skilful storytelling endures to the bitter end. And overall, this is a fascinating record that glues you to the stories he uncovers. One well worth dissecting and escaping into.

4/5