This latest addition to his catalogue collates all the skills showcased and refined on previous works, social consciousness, wordplay, and flow – but with the vigour of a man who has long-proven that he is always looking to evolve into a better artist and person.
The album opens with the glorious-sounding ‘History’, on which he employs long-term collaborator James Blake. The title takes on a double meaning, as Blake sings, “You know it’s history in the makin’”, alluding to the project’s cultural impact, while Dave proclaims, “And any time you mention me in a statement, you better know that it’s / History”.
This variation reflects that of the album’s lyrical content, as Dave flicks from social commentary to personal notes. The combination of his distinct flow and Blake’s lush, soaring vocals creates a powerful contrast, setting the tone with an opening that immediately commands respect.
Religious references occur often, epitomised on track three ‘No Weapons’ featuring fellow singer-rapper Jim Legxacy, where the Bible line “No weapon that is formed against you shall prosper” is interpolated, the pair sounding out their collective invincibility.
A number of other collaborators appear throughout: Kano delivers a deeply introspective portion in conversation with Dave on ‘Chapter 16’ while Tems brings danceability to ‘Raindance’. One of the most potent features appears in ‘Fairchild’ alongside Nicole Blakk. On the track, Dave and Blakk dissect violence against women, stripping it down to smaller-seeming instances such as a “flirty cab driver”, showing how they make up a larger pattern of entitlement towards women that needs checking before it escalates into violence. This stands as a series of thought-provoking moments on the album.
Towards the end, Dave takes the time to reflect internally on a number of solo tracks. On ‘My 27th Birthday’ – the latest in his string of ‘My _ Birthday’ songs where he self-reflects upon reaching a new age – he lays himself bare. He sings of his contradictions, “I cried about slavery, then went to Dubai with my girl”, and insecurities, “I’m terrified of livin’ by myself ‘cause there’s a kid inside myself I haven’t healed”. He depicts his complexities and multitudes boldly and honestly.
He continues this into his final track, the eponymous ‘The Boy Who Played the Harp’. He takes his rumination a step further, as he asks himself what he would do to help others if he were at the scene of various historical tragedies – from World War Two to the Titanic. He then answers his own question: “But I’m knowin’ the answer, ‘cause what am I doin’ in this generation?”. It’s as remarkable as it is harrowing, as he explains that not being outspoken isn’t an option for him (“I’m a Black man and this bozo sayin’ my music socially conscious”).
The album stuns to its end, as Dave evokes purpose and power in his listeners. While he has been highly regarded in music circles for years now, ‘The Boy Who Played the Harp’ fully cements the South London legend as one of our greats.