Album Review: Kevin Gordon — 'The In Between'

Iowans will have the chance to enjoy a series of special performances by acclaimed singer/songwriter Kevin Gordon the first weekend in October. Gordon is an accomplished songwriter and graduate of the University of Iowa Writers’ Workshop, where he earned a MFA degree in poetry. His poetry informs his songwriting as he creates vignettes of life through his words over a combination of blues and roots rock. He has dueted with Lucinda Williams, and his work has been covered by Keith Richards, Levon Helm, Irma Thomas and Todd Snider.

The In Between is Gordon’s first album since 2018’s Tilt & Shine and covers a lot of ground. Since his previous album, Gordon was diagnosed with throat cancer, which put a halt to the recording process for The In Between as he underwent radiation and chemotherapy. This gap in time and diagnosis adds some urgency to this collection of songs, as well as a bit of nostalgia, though I get the impression that nostalgia is an occasional theme in his work. Like any good songwriter, his pen captures the moments of time around him.

Kevin Gordon — photo courtesy of the artist

“Simple Things” and “Keeping My Brother Down” lead off the album, but also feel a little like time capsules buried not long ago. “Simple Things” is a sweet song of hope from the perspective of a man during the COVID-19 lockdowns, reflecting on the little joys that dance in his dreams as he hopes and waits for the world to change back to normal. The pandemic feels like a distant memory, for me at least, but I cannot help but remember similar feelings when listening. Similarly, “Keeping My Brother Down” addresses historical and current struggles against racism, referencing Emmett Till and Eric Garner. This track feels inspired by the Black Lives Matter movement, though is just as relevant today as it was four years ago.

Gordon’s songs also touch on relationships and characters. Tracks like “The In Between” and “Love Right” display the passage of time as a character itself, morphing and influencing the efforts of morality, touring and love. His voice, somewhere between Tom Petty and Steve Earle, a touch of twang, yet smooth and graceful. “You Can’t Hurt Me No More” sees the passage of time, the moon and the sun, as the balm to letting go of lost love.

His word choices are plain and simple, but each line carries deeper connections to the stories he builds. On “Marion,” for instance, he identifies the title character as someone he knew as he builds a heartbreaking story about living as a member of the LGBTQIA community. When he repeats “Reagan won,” the turning point of the tale begins to take hold. As wordy as poetry can potentially get, Gordon is amazingly efficient in his songwriting.