There’s something defiantly alive about Paint. From its very first chord, Pennan Brae invites the listener into a vibrant revival of rock’s golden age but with enough personal flair and polish to stand firmly in the present.
Right off the bat, “It Ain’t Perfect But It’s Free” lays a swaggering, brass-inflected groove that sets the tone. With the legendary Steve Ferrone driving the rhythm, the song pulses with confidence, radiating the kind of loose, soulful energy that feels both nostalgic and urgent. That track opens the album not as a throwback, but as a statement of intent.
As the record unfolds, Pennan Brae showcases impressive range. On “Girl In The City,” whispers of country-tinged warmth meet jangly pop melodies, conjuring a comforting, easy stroll down late-night streets. Elsewhere, tracks like “Take Me Back” or “Do What You Do” pack a punch of textured rock guitars, Hammond-style organ, and soulful harmonies shifting effortlessly from tender introspection to gritty groove.
What distinguishes Paint is how nothing feels forced. The horns, strings, and backing vocals don’t serve as mere embellishment they’re woven into the fabric of each song, giving the album depth and character. The production, guided by producer Kaj Falch-Nielsen, captures both warmth and clarity, letting each instrument breathe while preserving cohesion across diverse moods and styles.
At just seven songs, Paint could have felt brief. Instead, it arrives as a compact, heartfelt journey through retro-tinged rock, funk, and country-tinged balladry all delivered with sincerity and craft. Pennan Brae doesn’t simply look backward; he carries the spirit of past eras forward, shaping it into something fresh and distinctly his own.
Paint doesn’t chase trends or pose as edgy. It celebrates groove, melody, and genuine, guitar-driven soul. For anyone longing for rock & roll with warmth and authenticity, this record is a vivid, rewarding listen.
