ALBUM REVIEW: MELD – Words of the Water
By JD Brant
Nashville’s got soul, and a helluva lot of it. I previously wrote about a handful of womxn-identifying musicians taking New Nashville by storm, and I’m continuing the love with an album drop from a soul singer whose pipes are the source of much envy. MELD (government name, Melanie Dewey) recently performed songs off of her August debut, Words of the Water, live from the iconic Music Marathon Works in Nashville.
During her live set, the ocean spilled from the movement of interpretive dancers and poetry from soul strummers Katie Buxton, Amber Lily, and company. MELD donated money raised to The Ocean Cleanup, and it’s not the first time she’s used her platform for environmental activism.
A born-again Janis Joplin and a true jambander at heart, MELD has rocked out with Zoogma, Brothers Past, and her band’s played at The Mothership Festival In Taos, New Mexico, and Sonic Bloom in Colorado. She’s done all of this while raising money for charities like OceanAid, Coalition For Clean Air, and Urban Green Lab, making every droplet count.
On Words of the Water, MELD climbs into subtle and gentle falsetto patterns on “Colors” that are more aligned with Aaliyah’s “Rock the Boat” than Ariana’s “Oh Santa!” (although Mariah and Ariana hit a high note with their whistle register, for sure). On “Freedom,” the listener is offered melodic grooves and tinctures of color and flame, or maybe Sound & Color, as progressive jazz rockers Alabama Shakes would have it. The track is exceptionally climactic, and a cliffhanger ending swells with the magic of a sunset rising above crashing waves.
Words of the Water certainly isn’t MELD’s first swing out of the park. Her 2017 album H.U.R.T. is smoldering with instant classics. “Leaving You Out” (the out-of-this-world remix I’m speaking of is here) is a radio bop with club appeal. At a heart-racing BPM and silky-smooth orchestration, the song’s mastering (by Anthony Thogmartin of Papadosio) is on the same level of quality as the producing chops backing Nashville megastars. Projects like Meghan Trainor’s Treat Myself, which splits discography credits among thirteen different producers, has a similar sonic bite.
On a personal note, MELD’s father passed away of cancer this summer, but before that time came, she was able to mobilize her social media forces and catch the attention of former Grateful Dead guitarist Bob Weir and Dead & Company member John Mayer. Both members gave her father, a loyal deadhead, a 50th birthday shoutout on social media before his passing.
You don’t have to be a Grateful Dead fan to get behind what MELD is throwing down. If you enjoy Joss Stone or Jewel’s earthy aesthetic, you’ll have no problem connecting to a song on her album.