It’s an event for me whenever Jon Foreman (frontman for San Diego’s Switchfoot) releases a new solo album. I grew up enjoying Switchfoot music nominally like everyone else in the mid-2000s, but it wasn’t until I got to college (coincidentally we both went to UCSD) that I came to appreciate what he was doing as a songwriter, especially with his solo career.
In Bloom is no different as he follows up Departures (2021) with a project that feels unique in its own right. What made his previous EPs wonderful was their conceptual nature. They followed the seasons (Fall, Winter, Spring, Summer) or times of the day (Sunlight, Shadows, Darkness, Dawn).
Jon has said that Departures, released during the pandemic, was meant to be followed by Arrivals. But he like so many of us is not there yet, and it morphed into something equally as beautiful if not more so.
The instrumentation on In Bloom has a melodic serenity that at times feels reminiscent of Foreman’s Wonderlands project, and his lyrics always feel singular and yet indicative of his thoughtful, open-handed conception of life. He uses nature metaphors and his own interactions with the natural world to discuss his typical themes of life, death, love, doubt, and beauty.
Jon has the innate ability to write tunes that stay with me. I love lyrics and for my money, he has some of the most meaningful, but even the few songs that don’t strike me immediately, just give them a year or two to soak in. I can assure that they’ll gain new life with each passing listen like minor epiphanies.
I will always gladly take new music from him because he is a kindred soul and his music and what it grapples with have become the soundtrack and the lyrical wallpaper for my life. He contends with the questions I always seem to be asking or the ones I didn’t realize I had. Also, his solo work allows him the opportunity to be introspective and deeply intimate. I love how it compliments the more raucous, anthemic platform of the band.
“In Bloom” is the title track, but I’ve fast become fond of “Where The Sidewalk Ends,” “Antidote,” “Stay Wild, Wildflower,” and “As. Simple. As. Us.”
Consider this a recommendation.
What Have We Learned, Charlie Brown?
June 6, 2024, was the 80th anniversary of the D-Day invasion. You don’t need a history lesson from me so I’ve included a Peanuts cartoon instead.
I’m always fascinated by how Charles Schultz created his world with enough latitude to be humorous in one panel and then cover somber topics with a sense of gravity and respect.
I’ve yet to watch it, but I’m curious to search out the 40th anniversary special What Have We Learned, Charlie Brown? Like the Christmas story, I can see how the Peanuts gang can strike the right balance to tackle WWII.
Recent Reviews
Brats: Andrew McCarthy’s exploration of his association with the Brat Pack was a great excuse to consider Gen X and talk briefly about C.S. Lewis and his essay “The Inner Ring.”
Beijing Watermelon: I watched this Nobuhiko Obayashi movie a couple of years back but finally published my review when I realized it was the 35th anniversary of Tiananmen Square. As someone who lived in Japan and has worked in many cross-cultural settings, the story deeply moved me.
Butterfly in The Sky: I wrote about how LeVar Burton and Reading Rainbow were formative for a generation of children. It was also a good excuse to talk about Mr. Rogers and the TV show Community.
Wildcat: A film from Ethan and Maya Hawke documenting the creative and spiritual travails of Flannery O’Connor. It’s a film for people who want to be great artists and still maintain a rich spiritual life.
The Last Hurrah: Any time I get to talk about John Ford or Spencer Tracy, I’ll take the opportunity (Coincidentally TCM has a new podcast on Ford called The Plot Thickens: Decoding John Ford). I also referenced my hallowed career in high school debates.