Yeah, I can see how that’s dramatic, but his voice, his message, and his emotion are clear and effective. I felt so much after hearing it live for the first time. Seeing his passion while just sitting at a simple piano made it clear that Jake Wesley Rogers was a tender soul to watch. I am glad I did.
His newest release “Jacob From the Bible” brings his impact as a writer and musician to a new level. It’s a completely different experience than “Evergreen,” while still maintaining Rogers’s stellar voice and tangible passion. We are introduced to the song with some “oohs” atop soft synths. It’s calm, yet building.
His voice enters with a deep tremble that pleasantly surprised me. It was as if I had forgotten the literal and emotional depth of his voice, and I was reawakened to the beauty of it.
Mamma, don’t worry.
It took me years
to say I’m sorry,
to see your tears.
These lyrics instantly took me to my memories of having to apologize.
As a listener, you’re forced into humility that wrenches your gut, then freedom that lifts weight off your shoulders; in the end, you learn who you are, who you care about, and what you aspire to.
That same experience happened for me when Rogers brought me to the chorus. An explosion of admission happens in which he declares his truth.
I’m no Jacob from the Bible.
It’s more than just biblical; it’s transcendent.
Then, the second verse arrives, full of even more warm, heavenly force. He shares of his first love, which is fitting in this musical exploration of strengths and weaknesses. He can see the failings of others in this relationship. Rogers is flawed, but so is his love. It brought clarity; it made him pray. And just as I feel this, I am brought to the gospel of this song.
He calls out in strength and agony as a choir lifts behind him. A rasp in his voice makes the impact even greater. The drums hit, the guitar rings, and Rogers’ completes his confession.
I’m not even hall of fame.
Just a lifelong disciple
of loving you that way.
There is defeat, hope, independence, and devotion as his piano plays out. The story concludes with raw honesty and fulfilling harmony that is typical of Jake Wesley Rogers’s music. I am again reminded of the first time I saw him – me standing amidst strangers, impulsively edging closer to the stage. Rogers just sitting on a stool – his arm reaching out in the air for something and a white glow rests around him. I was flushed in the ethereal environment of performance and performer. It was purely intimate, accessible, and powerful.
In the same way, “Jacob From the Bible” wrecked me and built me up, and I loved it.
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