Even as the multifaceted nature of Kezia Gill’s music is revealed on her new album ‘Misfit’, there is no sense that the songs contained within it are at odds with each other. That doesn’t mean that it isn’t surprising but it is far from jarring. Different genres blend together nicely. Styles weave seamlessly in and out. There may not be a single definition for it musically but that is exactly part of its appeal. It’s an album that seeks to portray the “bit of everything” that makes Kezia Gill who she is. And it does just that in her own distinct way.
The title track opens up proceedings in a suitably rock-heavy style. Kezia announces with confidence that “I finally know my place”, among those who don’t feel like they fit, or can be put into a box. Its message is uplifting; relatable or encouraging depending on individual circumstance. Not to say that comparisons cannot be made. The popular single ‘Whiskey Over Ice’, an arena-worthy tune with a lyrical emphasis even as it is surrounded by guitars, has strong Ashley McBryde vibes. And the piano-led ballad ‘Like I Did Before’, with the line “I don’t know what happy is” hitting like an emotional bullet, is reminiscent of Megan O’Neill at her vulnerable best. Start to understand her though, and a song like ‘Tonight’ comes along as a reminder that she evades easy classification. In this instance, it throws a curveball through the presumption that Kezia Gill is a powerhouse vocalist. The softness of her voice here is totally unexpected, even as it suits the Folk-style arrangement. She is nothing if not versatile.
‘House on the Hill’ is a high-point on this album (no pun intended) from a Country point-of-view. Not only does it carry a lovely guitar riff throughout but it tells a story of home that is utterly endearing. Much like ‘Dime Store Cowgirl’ (Kacey Musgraves) reflects on the inherent roots of identity, so this track finds that the journey always leads back to whence it came. In this case, it is to a “holly tree and our number on the door” – imagery that is as compelling as the narrative. It is where Kezia Gill finds her true self: the one behind the performer. A house of contentment, one might conclude, in contrast to Miranda Lambert in ‘The House That Built Me’.
‘Smokey’ reminds listeners that the hard, head-banging Blues to which she is accustomed still exists in her wide-ranging repertoire. The guitars then slide nicely into ‘Sweet Spot’, presenting more of the same but with a chorus so instantly memorable, it is ripe for audience interaction. Throw in ‘No Idea’, with its comedic honesty and light irony, and this section of the album harks back to the ‘Dead Ends and Detours’ EP which first announced her on the scene. Her stock has risen considerably since, and no wonder, given the quality of songwriting, not only on the latter but the final two songs on the album. ‘Price of Loving You’ is a complete gear change, emotionally-charged in its message of sacrificial love. Meanwhile, ‘Dear Me’ is a highly reflective note-to-my-younger-self, an acoustic wonder made more so by the musing violins.
It brings to a close an album on which Kezia Gill has found her place in the world, and the industry, embracing every facet of her musical being to be a ‘Misfit’ who fits perfectly in the in-between.
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