Born in Michigan and now living in Los Angeles, Vincent Covello’s musical path disregards current fashion. He follows his muse wherever it leads. His muse leads him to a particularly notable peak with the new ten-track collection Torchlights. Adopting the tried-and-true form of “torch songs” as a songwriting design for the collection doesn’t mean it wallows in cliché. Individuality comes roaring out of each cut included on Torchlights, and his obvious affection for mid-tempo piano ballads never means he opts for a single line of attack. Torchlights show various faces and provide an invigorating listening experience for the audience.
“Time Plays Us All” leads off the album, and with good reason. It’s one of Torchlights’ best moments. Covello goes all-in with fusing classical musical contributions to his piano playing, but it doesn’t burden listeners. There’s no overkill. The heft of its classical influences further heightens the emotional qualities of the songwriting. It elevates Covello’s already excellent lyrical content to the level of performed poetry. “Torchlight” shares those strengths. It plays down the aforementioned classical contributions, but the emotional wallop remains the same. Judicious use of post-production effects further enhances the song’s effect on listeners. However, the marriage between Covello’s voice and piano playing stays central to the song’s aims.
“Blow Your Mind” is a notable stylistic departure. Covello’s shift of gears comes at a good place on the album and proves to be a convincing stab in a jazzier direction. It doesn’t fall too far outside of the album’s wheelhouse. The percussive qualities of his piano playing give added push to this performance. “Remember When” is another highlight. It has one of the best piano riffs that Covell concocts for the release. The song likewise features some of Covello’s finest lyrics. He delivers the content with full-throated emotional investment.
The album’s shortest track, “Winning or Losing”, travels far on upbeat jazz influences. It isn’t purist in any fashion; pop sensibilities fill every second of the cut. Nevertheless, Covello nicely adepts his musical vision without sacrificing his artistic core. Equal parts verve and sensitivity color his vocals. “The Next Life” returns us to familiar ground. The heightened tone of this song helps it stand out from the pack, and several intelligent twists layered throughout the arrangement further distinguish his performance.
The instrumental “Medley” shows off unexpected daring. Covello has the compositional and playing chops to rely on captivating listeners with music alone. However, choosing this direction so late in a vocal-dependent release carries risk. It could sound like an outlier, an able performance out of place in its surroundings. It thankfully does not. “Medley” conforms to many of the same characteristics that make Torchlights, on the whole, a memorable release.
He punctuates the song cycle with “Here Then Gone”. His strong affinity for songs dealing with interpersonal relationships shines brightly. The final track encompasses varied emotions, and the music is especially fitting. It ends Vincent Covello’s Torchlights on a deeply moving note and invites listeners to run through the songs again. It isn’t an album that you can digest in a single sitting. Instead, Torchlights deepens with each new play and makes a strong case for being one of 2024’s strongest collections.
Troy Johnstone