Clairo<\/a>; she appears across the credits on nearly half of the record. Her soft tone glides beneath his own on \u201cSweet Fortune,\u201d a brief moment of emotional surrender midway through the album. \u201cBe good to me,\u201d their layered vocals plead. \u201cDon\u2019t say what you don\u2019t mean.\u201d\u00a0<\/p>\n\n\tBeatty holds himself to this on \u201cToo Many Ways,\u201d where he gathers a crowd of instrumentalists for a sprawling folktale about loving from a distance. \u201cI\u2019ve got a life in California and a family and a band,\u201d he sings. The band, in this case, contributes a banjo ukulele, an organ, and a pedal steel guitar, among other things, to get that country feeling just right. Beatty brings it home with an anecdote about the man from Massachusetts he never seems to get enough time with. \u201cHe said, \u2018It\u2019s cold rain and winter frost in Boston, but my arms will keep you warm tonight.\u2019\u201d\u00a0<\/p>\n\n\n
\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n
\n\tSweet Fortune <\/em>finds one of its sweetest moments in \u201cDust,\u201d a stripped-back ballad that cradles the musician\u2019s sharpest vocal arrangement on the album. There\u2019s an ease to his performance that contrasts sharply with his writing. \u201cLove of mine, don\u2019t cry for me\/love of mine, don\u2019t die for me\/even if I ask you to,\u201d he sings. \u201cYou\u2019re the last thing I\u2019ve left to lose.\u201d <\/p>\n\n\tThe song reflects his live shows, where enthralled crowds sing along in a fragile whisper.\u00a0Beatty is often seated for these performances, surrounded by his band and lost in the moment. The opening piano ballad \u201cPhantom\u201d lends itself to this structure, as does the bluesy \u201cAnnie, Anything,\u201d two instances in which he almost feels too comfortable <\/strong>compared to the rest of the album. These cuts can come off as less challenging than the more intriguing explorations of his ear for arrangements. <\/p>\n\n\t\u201cDelancey\u201d dispels this feeling. It makes itself at home in the dark corner of a jazz club, the kind that offers refuge on rainy nights in New York City. \u201cI\u2019m as dim as a deer you left dead in the road,\u201d Beatty sings. He grasps for something more meaningful in what sounds like sirens blaring from a distance in the back. They\u2019re tucked just behind a stirring saxophone performance.\u00a0<\/p>\n\n\n
\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\tFour albums in, Beatty is still finding new angles through his distinct perspective. Sweet Fortune <\/em>revels in its intimacy without over-intellectualizing it. And while it falls just short of the heights Calico <\/em>reached, the album accepts the challenge of trusting the full spectrum of emotion and experience that fuels him as a songwriter.<\/p>\n\n\tThere\u2019s a moment on Calico<\/em>, on the closing track titled \u201cLittle Faith,\u201d where Beatty sings about plants that keep withering and dying under his care. \u201cI didn\u2019t want to be a killer,\u201d he says, \u201cbut it died right there that day.\u201d By the end of Sweet Fortune<\/em>, Beatty doesn\u2019t give into defeat as easily. He finds a new way to flourish, instead. \u201cI\u2019ll throw seeds and reap what I sow,\u201d he sings on \u201cFleur De Lis.\u201d \u201c\u2018Cause in the dirt, all my flowers will grow.\u201d<\/p>\n<\/div>\n
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