Pop music is beginning to take a seemingly endless amount of forms as each year and each era progresses day by day — a trend that is just as old as the genre itself, but one that also becomes more and more apparent as working creatives begin to explore new and unfounded avenues.
Though this idea of always experimenting and moving forward with the idea of pop music in general is true in the way that it is, that does not mean there still isn’t room for past aspects of this genre to continue to be drawn upon and conclusively perfected in our current times. And in the realms of tried and true indie-pop balladry, perhaps no one is doing this more exceptionally than Jimi Somewhere.
The Norwegian standout has been on an upward progression as far as his status in the grander pop landscape is concerned since bursting onto the scene towards the tail end of the 2010s, seeing his most resounding success come about due in large part to his anthemic singles and the videos that paired with them, along with his ever-impressive 2019 EP “Ponyboy.” But as it stands in 2020, Jimi is far beyond even the heights he reached in those previous ventures — a notion perfectly illustrated by his most recent single entitled “Jesus.”
Based off of those aforementioned projects and other creative items, Jimi had built up a reputation as a superstar in his own right just looking to get a bigger break than the last one he’d receive. But his work this year has painted a different, yet equally important side of his still-developing career — one that is focused on creating and perfecting the sound and style he’s been working towards for years now. “Jesus” represents nothing else if not an ideal clarification that he’s reached this peak and accomplished this goal in a number of manners.
One aspect of his work that has always stayed true is his flair for the dramatic and the ways in which he gives his music thematic meaning and weight, which he most prominently does by way of his exceptional vocal delivery that ranges from the most sincere of passages to emphatic beltings in the blink of an eye. This fact rings true on “Jesus” at perhaps its highest level yet, with its soft verses building up to the showstopping chorus where Jimi brings it all together through his voice alone.
This aspect is compounded by the other way he manifests this thematic flair, that being through his remarkable sense of melodic composition. Each and every passage that this track withholds perfectly matches whatever tone Jimi is going for in that given moment, adding that much more weight to the climatic atmosphere that acts as the crux of this track in its entirety.
The climax itself is topped off by a feature from the one and only Kacy Hill — who’s built up a legendary status of her own despite how underrated her solo work might be to the grander music audience as it is. Any song she’s featured on – out of the hundreds at this point – is elevated to unmatched levels with the help of her feature, and that is yet again the case here, as her fluttering and soothing final verse ideally caps off a song that acts as a thematic experience first, and a simple piece of pop music closely thereafter.
If there’s anyone who can pull off the idea of “cinematic music for the masses,” no one makes themselves more apparent as the ideal fit for this role than Jimi Somewhere. He’s made this clear time and time again on past releases, but “Jesus” is without question a conclusive statement on this fact in its own right — the final piece to a puzzle that’s been developing for quite awhile now. But despite how conclusive something like this sounds in every sense of the word, this is far from the end for Jimi and his quest to be pop music’s next great balladeer, and only time will tell when he inevitably reaches that point.