When announcing the release of his eighth studio album, BLACK, Capitol Records recording artist Dierks Bentley proclaimed that he was taking a different course with his music – he wanted to reach to the farthest edges of his heart, find that soft spot that is sensitive yet relatable to his fans. With the bar set incredibly high, one listen to the new album solidifies the surpassing of all expectations, so if you were to anticipate an album paralleling BLACK’s sexy and radio-friendly #1 lead-off single “Somewhere On A Beach,” you would be sorely disappointed – like an iceberg, there is much more substance beneath the surface.
Kicking off with the seductive title track, Bentley majestically captures every spectrum of love and human emotion in this thirteen song collection. Bentley touches on post break-up depression in “Pickup” and “Roses and a Time Machine,” while “Why Do I Feel” addresses the grippingly realistic anxieties and insecurities of a relationship that are normally disregarded in society as a whole. The closer, “Can’t Be Replaced,” is a touching sentimental tribute to his wife, his loves, his life in general, that leaves the listener grasping for tissues .
The integration of various musical genres on BLACK is also phenomenal. The ninth track, “All the Way,” is a stunning birth of Bentley’s contemporary attractiveness combined perfectly with his impeccable ability to perform bluegrass flawlessly, while “Mardi Gras” (featuring the astounding Trombone Shorty) exudes an abundance of jazzy New Orleans splendor.
In addition to the aforementioned Shorty, the collaborations on BLACK are stellar – celebrated newcomer Elle King joins Bentley on his newly announced single “Different for Girls,” a twisting juxtaposition between the actions of men and women post break-up, while acclaimed songwriters Natalie Hemby, Jessi Alexander and Hillary Lindsey provided magnanimous harmonies throughout the collection: ““Having a female perspective on this record really made the album more than just music,” Bentley had stated previously, in regards to the album. “It makes it a conversation between a guy and a girl. Sometimes it’s harmonious and sometimes it’s two people clashing, but it’s always there.”
And what could be more harmonious than Bentley’s collaboration with Maren Morris on “I’ll Be the Moon.” Written by Morris and Ryan Hurd, the third track on BLACK exhibits both Bentley and Morris’ perfectionism as artists – the subtle harmonies and finely crafted switch off between vocals brings sensitivity to the rather taboo concept of two lovers engaged in an affair.
To say the occurrence of someone being in love with someone else while with another has never materialized would be an extreme farce, bringing in yet another difficult but relatable attribution of the love concept. And the dialogue between the star-crossed lovers of this tune are sublime – he doesn’t want to lie or hide the relationship, but he’s willing to if that ensures he still has her love. In theory the scenario is a recipe for destruction, however Bentley and Morris exude tenderness and vulnerability that make this song incredible touching.
Bentley has exemplified true artistry with this latest release, surpassing any and all expectations. Available now, BLACK is undoubtedly Bentley’s most masterful and rawly personal album to date.