New York City, USA-based singer songwriter Reid Jenkins is an artist who has just hit my radar thanks to his intimate new album. Telling universal stories of aimlessness, malaise and the messiness of human existence, it’s called Hall of Gems.

By Graeme Smith

Born into a family of musicians, Reid’s career started at a young age. He began playing violin at age six, and was studying music formally from there out, culminating with attendance at Columbia University. A multi-instrumentalist and a songwriter, he has all the tools available to create, yet it’s his open sense of raw vulnerability that really makes his music compelling.

Hall of Gems opens with Giant Aster. It’s a gentle and reflective start. Light yet weighty percussion sets the scene before Reid’s soft and expressive vocals come in. A quiet first verse gives way to a soaring, layered and cinematic second. There’s such a lush range of instrumentation going on in this welcoming track. It’s a captivating start.

Living Right livens things up with a more earthly folk arrangement. Driving acoustic guitar pairs nicely with Reid’s crystalline vocals. Changes introduces some pacy whimsy in a textured, introspective number. Its inventiveness makes it an early highlight.

Over the Telephone strips things back a little, guided by acoustic guitar and giving plenty of space to Reid’s storytelling lyrics. I’m Alright is a bright and bouncing number that injects some reluctant hope into proceedings before Pom Pom Blanc rounds off the album’s first half with a short, thoughtful vignette.

Last Love is a brooding tale of relatable romance. Dollhouse Neighbours keeps things downbeat and dreamy before Where You Left Me ups the tempo with some scintillating blues rock. Tiger Bounce is a bright instrumental interlude, teeing up the darkly groovy North Star. Summer Rains closes the album with a simmering, slow-building narrative that ends cathartically.

Hall of Gems was co-produced with Sahil Ansari. You can give it a listen below.