Album Review: Richard Dawson - End of the Middle

After ending the trilogy that he’s worked on for a couple of years, Richard Dawson is willing to step back to something plaintive. ‘End of the Middle’ approaches simpler folk tapestries that may end up lyrically mundane at certain spots, but has enough warmth and optimism to lead into some vivid moments.

Throughout the stories that Richard Dawson has scribbled and composed, the streak of nihilism continues to spill within as his writing continues to explore stories across the realm. Whether that is the streak of roughly strewn yet avant-garde approach to structure and vocal chops across his early 2010s work, with ‘Nothing Important’ being his most unhinged as his vocals go close to the point of breaking apart, the collaboration with Circle on ‘Henki’ where the progressive rock muscle pairs fantastically with Richard Dawson’s peculiar songwriting tinges, and most importantly, the trilogy of ‘Peasant’, ‘2020’, and ‘The Ruby Cord’ where he explores such dour realities that persists through time, where even with the glimpses of hope being surfaced, such joy is stomped out. But now that said trilogy was finally finished back in 2022, Richard Dawson finally aims to step back from such sonic magnitudes, bringing something more plaintive and lilting.

Thus, ‘End of the Middle’ is a record that pulls away from the momentous scale of his past works, willing to put itself in more straightforward blends of folk and rock palettes with some clarinet accents that have enough warm textures and polished production to make this simpler presentation sound effective. Said warmth also gives Richard Dawson’s potent melodic and vocal flourishes to shine through in both concise and progressive structures, having enough space for his guitar work and his signature peculiar vocalizations to sound sonorous and comforting across the record. The nimble grooves and guitar strumming that accompany Richard’s falsetto on ‘Gondola’, the shambling rock passages on ‘Bullies’, the calming melodic shuffle that’s accompanied by a bassooning clarinet on ‘Boxing Day Sales’, the quaint progressive structure that allows Richard Dawson to bellicose through on ‘Knot’, the lilting guitar lines that gives a bright tone on ‘Removals van’, and the shimmering synth ballad on ‘More than real’ where Sally Pilkington adds a soothing chemistry to the overall song.

This simpler presentation centers the album’s theme in open view, one where the mentions of family are now in the forefront. Given that it’s Richard Dawson, he does explore such themes with some usual dour tinges, filling in the details where family members - especially those who are older - are feeling such regrets in life, where there is a hardship in the strained relationships between older and younger relatives that may persist long term. Yet despite how those fractured strains may linger, Richard Dawson does note that things can still be changed, allow such demeaning family cycles to break apart and finally give everyone to reach the dreams that they long to achieve, and most especially, acknowledge that such pained relationships can be mended. It’s a hopeful turn of change that Richard Dawson doesn’t tend to embrace on his past albums, but for once, he’s finally able to cherish it without hesitation.

Yet, for as much as the simpler presentation in the sound and writing does lead to effective moments, there lacks some more compelling melodies and lyrical detail that make the album feel less impeccable than it should be. On the melodic side, it’s more about how there are spare hooks that don’t settle the warm tone that it goes for, leaving certain cuts to sound less resonant. But the writing side is where so much of the record does become frustrating, where as much as it is so willing to impart the strains within familial cycles and the people that are struggling within it, the details within the writing tend to swerve out of the overall picture, especially when there are cuts like ‘Bolt’ or ‘Polytunnel’ that are more about mundane scenes rather than have them connect to the entire theme that Richard Dawson is tackling. Leaving the writing in the middle of the road, where there may be insight that’s being deepened, but also detours into plain scenes that don’t add much to the overall narrative at all.

Despite certain parts that become headscratching, ‘End of the Middle’ still manages to stick the landing through some of Richard Dawson’s more accessible tunes and writing to date, letting in warm tones and optimistic endings that allow such plain presentation to be gently rewarding. While there could’ve been more engagement in the writing or some additional hooks in the melodies, with enough repeated listens, there is some wonder to be found and insight to be sought within. To end in the middle only means two things: going straight to nihilist escapades, or acknowledging that hope can still be found. For Richard Dawson, it’s nice seeing him walk in the latter direction.

---

Favorite Tracks: ‘Gondola’, ‘Bullies’, ‘Boxing Day sales’, ‘Knot’, ‘Removals van’, ‘More than real’

Least Favorite Track: ‘Polytunnel’