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One of 2023’s most refreshing and reaffirming discoveries for me is stumbling across Charlsey Etheridge’s considerable talents. Her recently released collection Scars of Mine goes a long way towards establishing and solidifying any claim she cares to make about being one of Music City U.S.A.’s best songwriters. The flesh and blood authenticity driving her art will prompt audiences of every age and persuasion to immediately respond as these are songs that never brokers a wishy-washy response. She puts herself on the line each time out and she imbues each performance with an audible sense of stakes that makes for gripping listening.
It reaches those heights from the first. Leading off with the title song is a clear signal that Etheridge has absolute confidence in the material and feels prepared to lead listeners from a position of strength. She utilizes dynamics with such a keen ear that you’ll find yourself wrapped up in the song’s drama from the first. The song’s slide guitar is a definite highlight. Transitioning from the gritty pomp of the title song into the comparatively laidback tenor of “Doing Wrong Feel Right” isn’t quite the leap you’d assume.
Despite being a strong lyricist, Etheridge’s voice is the guiding focus of these songs. Her presence definitely has a transformative effect on the album’s second song and the music provides near-pitch perfect accompaniment for her work – in particular, the guitar playing scales cool lyrical peaks here that it doesn’t elsewhere on the release. The contrast between this and the album opener is quite stark and equally effective.
“Rhythm of Love” is quite effective as well. She seamlessly merges three disparate styles into an unified whole with the contributions from violin and harmonica nicely counterpointing her voice. She is completely in the moment as a singer here and elsewhere, but her singing during “Rhythm of Love” rates as high as any performance included in this collection. The patient yet inexorable crawl of “Midnight Train” embodies the “lonesome” as well as any cut she’s picked for this album. The presence of pedal steel recurring throughout the arrangement is especially enchanting.
“Time” grapples well with its enormous theme and puts it into its proper context – as viewed through Etheridge’s eyes. The buildup to the song’s chorus is what this is all about and the refrain pays off our attention in spades. It’s another of Etheridge’s best vocals as well. Outright rock histrionics make an improbable yet raucous appearance during the track “So Long” and, save an acoustic version of the earlier “Midnight Train”, it’s a fitting finale for the album that illustrates many things, including Etheridge’s penchant for structuring her songwriting and track listing alike.
Charlsey Etheridge’s Scars of Mine is diverse and pulls few, if any, punches. We don’t hear enough material like this circa 2023, but it’s reassuring to know that there are voices still out there making the necessary sacrifices to engage their listeners. Be grateful that this one didn’t go unnoticed forever – it has something special to offer us few collections do these days.
Mindy McCall
