A Bit of Cajun Flavor

By Broadside Staff Writer Dylan Hares

The best thing about rock ’n’ roll from the Deep South is how naturally soulful it is without being pretentious or repetitive. I’m not a huge fan of southern rock’s cousin, country, but I simply think it lacks the soulfulness that southern rock seems to have in every note. Or maybe what I’m feeling is just what the newest album from the Benjy Davis Project has left me with.

Hailing from Baton Rouge, Louisiana, the BDP has been rocking the Deep South for the better part of the last seven years. I had never heard of them before I got a hold of their newest album, Dust, but I have to say I was impressed from the get-go.

Benjy Davis is a talented songwriter whose songs are packed with meaning. So much meaning, in fact, that he slurs through most of his verses and choruses trying to get all the words out; his soulful voice that oft channels an amalgam of Dave Matthews, John Mayer and Jack Johnson really makes it work.

Most of the tracks on Dust are cautious and approachable pop ballads that are upbeat and full of, if I may be so bold, Cajun flavor. Track one, “The Rain,” is a relatable song about a relationship that is on the rocks but surviving. “I’ll do it for you baby, but I can’t turn off the rain,” Davis croons over the upbeat drums and acoustic guitar.

“Sweet Southern Moon” is a catchy number about good times as a teen. I always find that nostalgic songs are inherently touching and Davis does a good job of painting his younger years for his audience. “Tell Myself” quickly and pleasantly reminded me of The Fray not only in the construction with the piano intro and combination with acoustic guitar, but in some of Davis’ vocal moments in the chorus.

Davis excels at writing love songs because none of the relationships portrayed are perfect by any means, “Good Enough” is one of the love songs that really impressed me, not only because of the writing, but because the solo in it reminded me of “Freebird”-style classic southern rock in the tone and distortion of the guitar and the style and construction of the solo.

Like Davis, I found myself thinking that “this is a whole lot better than good enough.” The next track, “Same Damn Book,” has a great solo that reminded me of Santana, a style that I’m impressed to hear reproduced. I was a little disappointed with the last two tracks which, while still fine tracks, were not a very memorable way to end the album. I highly encourage everyone to pick up this album, which is full of fun times and nostalgic southern beauty.