The journal of a Kentucky culture vulture
The song was a massive hit for the Orlando-based band, garnering mainstream exposure as well as Christian-market stardom. It was the sort of song that can launch a band to the next level, if the band is truly ready to go there.
Unfortunately, For Those Who Wait really makes Unbreakable seem like a singular stroke of genius rather than a genuine sign of artistic growth. Nothing on the new album matches the intensity or creativity of that song, an interpretation of Jesus saving an adulterous woman from stoning.
The album starts off earnestly with strings that curiously echo The Beatles’ Eleanor Rigby ushering in the title track. Then we are off on a steady stream of soaring, glossy anthems that blend into one another. Many of them seem to be trying to recapture that Unbreakable magic — gritty power rock with soaring vocals about overcoming adversity — but they just don’t quite get there. The word “overproduced” leaps to mind, as you get the sensation of a band trying too hard to be perfect. Name, for it’s quiteness, is maybe the most striking track on the album. But for a hospital ballad, it is surprisingly unmoving, reminding listeners of the Superchick classic We Live rather than drawing them into this song.
And therein lies the major problem: Despite a singular hit, Fireflight seems more inclined to sound like other bands than find its own voice.
About Rich Copley & Copious Notes
Raised by opera-loving parents in a rock ’n’ roll world, Rich Copley has parlayed his broad interests into his career writing about arts and entertainment. Since 1998, he has covered performing arts, film and faith-based popular culture for the Lexington Herald-Leader, the daily newspaper in Lexington, Ky. MORE | E-mail Rich