Ronan O'BrienDaniel Caesar returns to the scene with the release of his fourth studio album, Son of Spergy. With maturity, humility and self-discovery, Caesar’s beautiful vocals are a blessing in themselves.
Daniel Caesar
A native of Toronto, Daniel Caesar was born to Barbadian mother and Jamaican father. His father, Norwill Simmonds, was a gospel singer, and this is where his love for gospel and soul music was established. It was credit to his father that Caesar’s music career also began. Following an argument, 17-year old Caesar was kicked out of the family home. He then had no other choice than to follow his dream of becoming a musician.
While homeless, Caesar began playing gigs. This led to him meeting producers Jordan Evans and Matthew Burnett. They would oversee the production of Caesar’s debut EP, Praise Break. 2015 saw the release of Caesar’s second EP, Pilgrim’s Paradise, which featured some amazing tracks like “Death & Taxes” and a cover of Kanye West’s “Street Lights”.
Caesar’s first studio album, Freudian, was released in 2017 to critical acclaim. With features from the likes of Kali Uchis and H.E.R., it received 3 Grammy nominations, winning one for Best R&B Performance. Following this was his sophomore album, CASE STUDY 01 and NEVER ENOUGH, in 2019 and 2023 respectively. Following reconciliation with his father, Son of Spergy was released last month with the title deriving from his father’s nickname.
Lord, Let Your Blessings Rain Down
The gospel influences are evident from the start. The opening track, “Rain Down” serves as an opening prayer more than anything. A beautiful yet subtle piano with choir-like vocals and hand claps creates the background setting of a church. Intermittent chatter in between also reaffirm this. Caesar’s beautiful vocals are present from the start, with Sampha providing falsetto in true choirboy manner.
More delightful piano melodies open the lead single, “Have A Baby (With Me)”. While the instrumentals are beautiful and the vocals incredibly soulful, the lyrics point to a more disconcerting message. The opening lines, “You hold my hand, but in your head, you’ve already left”, signify that the relationship is dying. The beautiful melody now feels melancholic with this narration, and the choral plead of “Have a baby with me” is almost delivered as a bargaining chip than a declaration of love. While the relationship may be dwindling, the idea of having a child is built as an anchor to avoid separation.
The second single from the album, “Call On Me” opens with a dirty guitar riff, which changes the mood completely. Some fat drums and groovy bass accompany, almost giving the sound of Dad Rock. And listening to the lyrics makes this a completely apt choice. The track serves as a tribute for his father, with messages scattered throughout that may have been courtesy of his father. It’s almost a note of appreciation, with the singer being thankful of everything his father has and will always provide him. There may be a double meaning here that “the father” is God, which certainly fits the album’s theme of spirituality.
So Many Colours To Choose From
“Baby Blue” opens in the swing of a nursery rhyme. With pretty strings in the verse before breaking into a funkier swing in the chorus, it retains its tenderness throughout. Daniel’s vocals are soaring throughout, and lyrically it’s not immediately evident whether the song is directed towards a lover or at God and faith. Perhaps the inclusion of a hymn performed by Caesar’s father providing the outro may suggest the latter.
The beauty in the soft instrumentals continue in great display on “Root of all Evil”. The guitar and damp drums let Caesar’s vocals glide through with humility. Aware of his own success, Daniel questions himself; “Am I a man or a beast?”. The title may be a Biblical reference to money as “a root of all kinds of evil”. While attempting self-discipline to avoid this life of sin, he is drawn back time and time again. “I know I should stay away but I can’t / I’m too drawn to the evil”.
A similar acoustic vignette, “Who Knows”, is another display of admission. The vocals are once again, beautifully delivered with soft supporting instrumentation. Lyrically it explores the narrator’s own insecurities in their romantic relationship. While the issues seem to stem from the narrator’s lack of self-worth, they are comforted by the copious amounts of love they can provide. The narrator describes themselves as a coward, while “Hiding in a disguise of an ever-giving flower / Incompetent steward of all of that sweet, sweet power”. The track feels like a diary entry, with each lyric poured directly from the heart.
Man Is But A Pile Of Dust
A beautiful collaboration shines through with Bon Iver on “Moon“. Caesar opens, almost howling at the moon with falsetto vocals. The singer promises “I’d rather fight for you, the only way I know”, and this fighting spirit is dotted with Biblical references throughout. Bon Iver‘s vocals drift in and out in a ghostly manner, adding to the spectral display. The song evolves, transmuting to themes of violence. The Biblical references continue, with the singer comparing man to dust. This is reflected in Genesis 3:19; “For dust you are and to dust you will return.”
The album’s vocal intensity summits on “Touching God“, where Caesar is joined by Yebba and Blood Orange to create a choir. While the instrumental is slow and soft, the contributions from the vocalists create a monumental sound, full of lament and self-loathing. Through these feelings, Caesar expresses mild contempt for the spiritual deity he has followed his whole life; “I know there’s a God that’s withholding his help / I know you made me, but I hate myself”.
The song almost transitions perfectly into “Sign Of The Times“, where the guitar and soaring strings provide a more uplifting melody. While the previous song saw the narrator pining for a sign from God, the opening lines here show that sign come into fruition; “I heard God speaks to man through signs / Well I think I just seen mine”. The last verse serves as a turning point, as the vocal delivery switches flow fantastically. The melody becomes more uplifting, more self-assured, as is Caesar himself. With faith rekindled, he is now aware of the signs; “Signs are all around me, I’m just trying to interpret”.
You Help Me See Clearer Like Nobody Else
The self-loathing disappears and is outshone by gratitude in “Emily’s Song”. A lone acoustic guitar is accompanied by ghostly, choir-like backing vocals which sees Daniel pour his heart out to his ex-lover. While the love shared was toxic at times, it was addictive nonetheless. “Addicts are addicts and will never change / But we were never scared to be”. Despite this, the maturity and self-love he gained from the relationship has stuck with him, and is echoed in the chorus. “Just want to thank you / For being my mirror / Showing me myself”.
In almost contradictory terms, “No More Loving (On Women I Don’t Love)” opens with a declaration that Caesar is done with past relationships. However, this is more of a sign of maturity and self-growth. Caesar admits he is done with caring, even confronting ill gratitude with “Give you all the lemons and say fuck what you made”.
Bon Iver’s ghostly vocals return again on the closing track, “Sins Of The Father”. Much like their past collaboration, the track is split into two parts. The opening section reflects on his relationship with God. While carrying the weight his parents sins have put on him, he is thankful for this spiritual relationship. “Father, You said You’d love me / Like my own never could”. Even with this faith, Caesar still wants guidance. “I’ve got all this hate in my heart / But I got no place to put it”.
The closing excerpt of the song reflects on Caesar’s relationship with his biological father. Delivered in another nursery rhyming style, Caesar recounts his father forgetting birthdays and breaking promises. However, the growth displayed has manifested into forgiveness for his father’s sins and progress spiritually with his faith in Christianity.
Final Thoughts
Son of Spergy is a deeply personal, spiritual, and beautifully composed body of confessions. Daniel Caesar has masterfully blended his R&B sensibilities with the gospel and soul influences he inherited from his father. The album not only serves as a testament to growth, but to love, sin, self-loathing and forgiveness. While the lyrical themes are heavy and introspective, the music itself is consistently soft, soulful, and richly layered at times.
While perhaps not his best work, the album is one of the most touching. It’s personal, but it’s not perfect. Much like his relationship with his father or his relationship with God. Daniel makes mistakes throughout, much like his father had made when raising him, but these mistakes are worn openly. And that’s the point.
