The ephemeral hush of a golden morning wind bestows a sensation not unlike the one coursing through Gina Sobel’s new EP, Redbud—a work that expands the idea of contemporary folk far beyond its conventional perimeters. This six-song collection thrives on tension and release, weaving subtle, jazz-inflected chord progressions with the intimate warmth of acoustic textures. Sobel—multi-instrumentalist, vocalist, and composer—doesn’t merely present a tapestry; she embroiders it with the threads of funk’s cheeky swagger, hip-hop’s rhythmic elasticity, and that ethereal something often missing in over-sanitized modern production. Here, human impulses and living-room laughter intermingle with a nuanced, stylistic palette, each piece feeling lived-in yet forward-looking.

Sobel’s approach to lyricism feels equally delicate and decisive. The words emerge like secret messages whispered through a screen door on a humid evening, hinting at personal transformations, internal negotiations, and small epiphanies sparked by everyday life. Urban skylines rub shoulders with pastoral longing, and the scent of a beloved flower in bloom can co-exist with scuffed concrete sidewalks. It’s that duality—honoring tradition while fearlessly reshaping it—that makes Redbud feel vital, like a rare plant thriving in uncharted soil.

The title track, “Redbud,” channels a breezy, soul-soaked vibe set against gentle grooves. Sobel’s voice hovers just above the instrumentation, like sunlight dancing over a quiet pond. By contrast, “Florida Ave” indulges in a plucky bassline and airy guitar passages that flirt with jazz’s shape-shifting tendencies, its piano-driven core suggesting a bustling street corner at dusk. “Try Again Tomorrow” contemplates fatigue and resilience, capturing the listener in a moment of personal reckoning—unrushed, unvarnished, and profoundly relatable. The EP then moves into “East Colorado,” an emotive tapestry where neo-soul sensibilities meet echoes of love and longing whispered into a long-distance phone call. Meanwhile, “Canyons” harnesses minimalist poetry—both lyrical and melodic—to paint landscapes within the mind, each raven’s call a sonic brushstroke. Finally, “The In Between” ties it all together with retro-soul magnetism, its layered textures and hushed harmonies creating a penultimate exhale that glows long after the last note.

Produced by DJ Harrison (Butcher Brown) and supported by accomplished musicians like bassist Brandon Lane, drummer Joey Antico, guitarist Ian Dansey, and Harrison himself on keys, Redbud radiates authenticity and openness. Every player seems to converse, their interplay forming a circle rather than a hierarchy. Sobel’s flute and sax, woven into the textures like one voice among many, emphasize the collective spirit. This is folk that belongs to no single era, a sound that mirrors the crowded sidewalks and digital daydreams of modern life. Sobel’s Redbud grows where it pleases—rooted in now, flourishing beyond borders, and quietly inviting each listener to consider what “music of the people” can mean today.

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