At times, it seems that a composer, a musician, catches impulses from another dimension and forges them into melodies to somehow explain this strange, painfully beautiful chaos called life. Stephen Fearing is exactly that kind of artist. A virtuoso guitarist, songwriter, and singer. There is something visual in his voice: as if he paints each note in deep blue velvet. With a guitar in his hands, he tells stories. Behind him are 16 solo albums, two JUNO awards, collaborations with legends, and the iconic band Blackie and the Rodeo Kings, with whom he recorded 11 albums. On March 14, 2025, he released his new album “The Empathist.” The idea to make the album came unexpectedly – with a phone call, literally out of nowhere. Early 2022, the pandemic is receding, and suddenly: ring! On the line – a certain Ken Coomer.
“Listen, I heard your version of ‘Early Morning Rain.’ Want to record something together?” he proposed. The name Stephen didn’t mean anything to him at the time. But you can find out everything about everyone on the internet – and that’s exactly what he did. And wow – what a discovery! Coomer – drummer of Uncle Tupelo, one of the founders of Wilco, participant in their first four albums. Now – a sought-after producer who has worked with Al Green, Sheryl Crow, Steve Earle, and many others.
And that’s how the story of “The Empathist” began – an album born out of coincidence but filled with sincerity. Alongside Stephen, the album featured John Dymond (bass), his comrade-in-arms from Blackie and The Rodeo Kings, and multi-instrumentalist Jim Hoke – a one-man orchestra who played almost everything that could make a sound. But that’s not all. Bright musical names wove themselves into the project: Colin Linden, Sue Foley, the duo Dala, Kelly Prescott – each added their own color, their own note. The release includes 10 stunning songs that confirm his status as an outstanding storyteller. The narrative begins with the track “Bring This Song.” With powerful brass sections, an expressive piano solo, and tense, piercing vocals, it sounds like an unstoppable current of hope. Fearing addresses those who are lost and forgotten. “The King of Worms” here is a metaphor for love and the heart – he will be the one to bring this song at night, to the place where it is most needed.
For example, to those to whom Stephen dedicates “Far From The Middle.”
A song about those who live on the edge: far from the center- geographically, socially, morally. It is a voice in defense of the forgotten and the oppressed, those who are not heard. Harsh blues-rock sounds like a challenge, with expressive saxophone parts and sharp Texas-style guitar. I recommend paying attention to the track “The Empathist” – a quiet acoustic story about unconditional love and rare friendship. It is a memory of a fateful meeting, of growing up and learning to feel another’s pain. Through the self-irony of an older musician, a gentle sadness and tenderness toward the past can be heard – toward the woman who now lives only in memory. You’ll agree, this theme is very relevant today. As is the theme raised in “Marie” – a protest song with accordion, soft in sound but firm in essence. It is a dialogue against the backdrop of global collapse – fascism, violence, the loss of faith and meaning. The lyrical hero and Marie – perhaps a lover, comrade, or friend – go through an era together, a time when everything is falling apart. And in this chaos, one thing remains – to hold on to each other.
Meanwhile, “Cowboy Guitar” is a warm, cinematic lullaby about growing up and the traces left by time. Through the imagery of old Hollywood, the author returns to childhood, recalling friendship, dreams, and the path taken. The acoustic, nostalgic sound allows the lyrics and voice to carry the full depth of emotion – with cracks and worn edges, like an old guitar. A song about how music and love remain through the years, even when the world around changes. To tell the truth, all the songs on the album deserve their own lines, but I want to highlight “May You Get to Heaven” – a blessing-song where deep wisdom hides behind a joke. Inspired by an Irish folk benediction, it sounds like lively blues-rock with Cajun accordion, slide guitar, and a joyful chorus: “May you get to Heaven before the Devil knows you’re dead.” A cheerful song about forgiveness, redemption, and walking your path with dignity and a smile.
And of course, I recommend paying attention to “Where Will I Be” – an atmospheric track in the spirit of Daniel Lanois. A touching, vivid story about searching for one’s place in the world, about struggling with hardships and longing for closeness and understanding. The closing “Valentine’s Day” is a tender acoustic ballad. Written during the pandemic, it became a reminder that even in difficult times there is space for celebration and feeling. With soft vocals, a string texture, and a cozy melody, listening to it makes you want to hold on to hope and celebrate love – no matter what.
“The Empathist” turned out to be a mature and uniquely personal album, where Stephen Fearing’s craftsmanship is revealed in full. It seamlessly combines roots music traditions with a modern sound, while maintaining sincerity and expressive detail. “The Empathist “conveys complex social themes, confirming Fearing’s status as one of the leading songwriters of his generation. The album certainly does not disappoint – Fearing goes beyond genre boundaries. His music is alive, honest.
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