Review: Eliza Gilkyson 問題／発行するs a call to 活動／戦闘 on '2020'
Eliza Gilkyson, "2020" (Red House)
We can still congregate in song, as Eliza Gilkyson shows on "2020."
The Austin, Texas-based folk singer 記録，記録的な／記録するd the 政治上 告発（する），告訴（する）／料金d 10-tune 始める，決める as an 選挙-year call for 団結 against 軍隊s of 分割 and 憎悪. As it happens, the album is 存在 解放（する）d in a moment of physical distancing, making Gilkyson´s singalong 国家s of まとまり and community even more powerful.
"2020" rides an undercurrent of 乱暴／暴力を加える, and the 禁止（する）d, led by guitarist マイク Hardwick, gives the 手はず／準備 a punch to match the lyrics. But Gilkyson´s lean-in alto isn´t strident; instead, she 招待するs others to join her in song.
"We are conjuring our 軍隊s, and coming 直面する to 直面する with every 恐れる. But there is 慰安 in our 発言する／表明するs, reminding us of all that we 持つ／拘留する dear," she sings on "We Are Not Alone." It´s as if she foresaw a pandemic.
"My Heart Aches" laments complacency, "Sooner or Later" 予測（する）s a 革命, and "約束s to Keep" is a call to 行為／法令／行動する, making them like 一時期／支部s in a 調書をとる／予約する. Gilkyson finds fresh meaning in （頭が）ひょいと動く Dylan´s "A Hard Rain´s A-Gonna 落ちる" - speaking of prescient - and even in Pete Seeger´s creaky "Where Have All the Flowers Gone?"
This cover image 解放（する）d by Red House 記録，記録的な／記録するs shows "Sooner or Later" by Eliza Gilkyson. (Red House 記録，記録的な／記録するs 経由で AP)
And then there´s the 驚くべき／特命の／臨時の "Beach 港／避難所," with Gilkyson putting to music a 1952 letter Woody Guthrie wrote complaining about segregationist 政策s at a Brooklyn apartment コンビナート／複合体 owned by Fred Trump, father of the 現在の 大統領，／社長.
"We could shake 手渡すs together and get together," goes the chorus, words more poignant now than ever.
