The Trusted
One of our favourite bands from the UK, release “Marrow”
We’re suckers for a great pop band - especially one that continues to expand their sound, show a bit of humour in their Social Media, hustle like mad and keep getting better at their writing. Case in point, The Trusted, from the southern shores of the UK.
This quartet has been releasing music since 2017, showing incredible depth with tracks like “Arkansas” and “Millennium,” edge with “Doomsday” and “Cigarettes and Chandeliers,” and hooks with “Terrible Fight” and their latest release, “Marrow.” Let’s check it out!
We’re in F, around 124 bpm. The bulk of the track is built around the I, V, IV, but pay attention to when they drop in the vi, and play off the III, especially in the bridge. And I love the way Fin walks down the progression in the last chorus - but I’m getting ahead of myself…..
In the first blog I wrote about them, I mentioned that they remind me a bit of Joe Jackson with their punk attitude, but sensible choice in melody. That description comes roaring back as soon as you hear the piano intro (a la Jackson), which serves as the basis for the entire track. The simple lines are the best - they’re the hookiest - and they nail it with this one (although the smart ass bass and guitar player in me can’t help but laugh / complain about playing in F, ;), that your choice, Fin? ). I’ve also referenced how they remind me of U2 and Coldplay with their expansive sound, and I think that is showcased in this arrangement that features more keyboards and rhythm guitars that some of their other tracks. A common thread through all of it is Tom Cunningham’s strong and smoky alto, with a nice falsetto. I don’t know if he is also the lyricist for the band, but there is an accessibility and vulnerability to the stories that he weaves. “Marrow” perfectly displays that with its tale of exhaustion and need, bouncing back and forth between the verse and choruses. Beautiful stuff.
Great musicians in great bands know that their playing must always compliment the song first, and their ego second. Showing off ruins the song. Knowing that sometimes you just have to sit back and be basic can be the strongest statement of ones musical maturity (remember what Miles Davis told Herbie Hancock?). Dale Mead’s guitar playing and Dave Batchelor’s drumming on this track are a great example of this. Neither one plays any more than is needed. Dale has some beautiful voicings and picking parts - all straightforward. Dave’s tracks are straight ahead, right in the groove, letting his snare do the bulk of the accents. Wise choice. The bulk of the movement comes from Fin’s fluid lines, Dale’s picking part in the bridge and the keyboard parts - but they all leave room from Tom’s vocals and story. As with every other track I’ve grown to love from this band, the mix is solid. The track clocks in at 3:21 with a standard form (v/c/v/c/b/c) and is radio ready. The instrumentation and chord structure lends itself to a lot of opportunity in a live setting (extended intro, bridge, and a transition into their other works) - I’m hoping I finally get a chance to see them live in 2024.
It’s bands like this that make me want to keep playing. It’s bands like this that keep me excited about the industry. It’s bands like this that deserve to be on a massive stage because they are putting in ALL the work to be great. They are one of my favourite bands - not just in the UK - and I hope they become one of yours, too.
Taylor, Nashville.