Nothing to Cry About on Lucinda Belle’s New Single
Lucinda Belle can sing. Loudly. Boldly. Daringly. And, most of all, convincingly. Her talent as a vocalist should come as little surprise to those who’ve followed her career, which has already met the sort of highs most artists can only fathom, yet not quite attain. She managed to score a placement in a major motion picture soundtrack in 2014 with her song “Going Nowhere” in the Sony Pictures Classic release For No Good Reason, featuring Johnny Depp, among others. More impressively, she was nominated for an Oscar in the Best Song category for her efforts.
Still, what makes Belle’s voice perhaps most remarkable on her recently released single “Baby Don’t Cry” is that she’s had classical training…as a harpist. A jazz harpist, specifically, the instrument which John Coltrane’s wife, Alice Coltrane, helped popularize deep in the 20th century and, which still has the propensity to produce colors, rays, and inflections when Belle strums it on “Baby”.
Far from a gimmick, the tones and tunes of the harp work wonders on the three minute single, which is a precursor to Belle’s forthcoming album Think Big: Like Me, which will hopefully drop later on this year. The idiosyncratic harp playing serves as a suitable foundation for the vocalist to flex her chops with a range that’s remarkable on “Baby”—and which attests to all the possibilities of playing the harp for something a little more than traditional jazz, if the jazz harp can even rightfully be considered traditional.
Nonetheless, the track is endowed with an unmistakeably smoky, jazz-soaked vibe indicative of midnight forays into unknown places, the notes of the horn floating just under her voice, the lyrics wafting on into outer space itself. Produced by Tim Bran, the music is full yet revealing, winding its way down the distance of Belle’s voice as she consoles her listeners, urging them not to cry despite the beauty of the shifting sounds they’re experiencing.
The song is memorable, as is Belle’s performances on the harp and inside the vocal booth. She’s an exciting artist with immense promise as the hands of time continue to turn and one decade gives way to another. We’ll have to see exactly how she’s able to make good on it.