Luke Sital-Singh is a conventional pessimistic optimist on ‘Fool’s Spring’

Recommended Tracks: “Hold the Lightning,” “Cruel World,” “Saint & Thief”
Artists You Might Like: Sufjan Stevens, FINNEAS, Passenger

Some of us are currently experiencing a “Fool’s Spring,” which refers to that weird window at the end of winter when it seems like spring is here, but really, it is still a while away. It’s like the weather is playing a little joke on us, doing a bit, getting our hopes up just for them to be let down. Some of us might laugh at this joke, some of us might shake our fists angrily at the sky… And then there are some of us who might take this concept and apply it to an album – more specifically, Luke Sital-Singh. On his new album, Fool’s Spring, the earnest singer-songwriter finds himself wavering between optimism and pessimism, mixing positive moments with negative moments. Just when he thinks that a dark time has ended, it is right around the corner, waiting to start again.

There are many songs on Fool’s Spring that contain an “optimistic pessimist” sensibility, perfectly exuding that “Fool’s Spring” spirit. The opening track, “Still Young,” is a delicate intro to the album, with Luke placed between who he has been and who he wants to be. With soft and heartfelt vocals, he sings, “Maybe there’s a part of me / That wants to rule the world,” and asks, “It’s a curse to feel unhappy / Is it worse to be afraid?” As he contemplates his status, he tries to stay positive, which comes through on the following track, “Hold the Lightning.” Described by Luke as the “anchor of the album,” this soft rock track touches on perseverance. It starts out with the compelling opening line, “Let me try to kill you just one time,” as if the universe is trying to dampen someone’s spirit. Luke then overcomes this attempt at defeat by singing, “Hold the light / Hold the lightning / When the load / Wears you down / Let the light / Keep you hiding / May the road / Turn you round.”

Still, there are times when Luke gets in his own way, which he describes on tracks like “Firefight” and “Saint & Thief.” On the former, his intrusive thoughts get the best of him, as described in lines like, “Everyone is moving on / I thought by now, I might belong,” and “Dreams unbound / Will we ever stop believing?” As much as he knows that he is holding his own, he still feels less than satisfactory. He continues to find his worth on “Saint & Thief,” where he shares, “I’m not a fighter, but I hate to lose / I’m not a lover, but I can’t help loving you / I’m not strong and I don’t break / Have no words and yet I speak.” Here, it seems like he is on the verge of a breakthrough.

Regardless of how Luke feels about his ways, it is clear that he will never stop trying to be the best version of himself. On “You & Me,” he paints interesting visuals through lyrics like, “There is a blue lake / Deep below our mistakes / We can swim and watch the clouds play / I’ll meet you there.” These lines are almost poetic, giving a bit of romance to the downhearted words. But in the end, Luke wants to make things work, as summarized in the line, “Something gives me reason to believe.” He continues to try on “In Your Eyes,” a serene pop song with a 70s edge. Between the groovy riffs and synth lines, we can hear the desperation and the hope contained within the verses. Luke just wants to “get it right,” no matter the cost. Overall, he stays patient and aware, two traits found on “True Love.” From his gentle vocals to the lonely observations, listeners can tell that there is some goodness here – even if Luke wonders, “Does true love mean much when we’re facing down a fight?”

One of the heavier moments on the album comes in the form of “Cruel World.” It serves as the “real moment of melancholy” that Luke was searching for when making Fool’s Spring, and it touches on fatherhood. Throughout the pensive piano-driven track, Luke ditches the shiny allure of an easy life for the truth. He imagines what he would say to his future son, telling him, “Sorry, son / It’s a cruel, cruel world / And it isn’t spinning just for you.” It might seem wrong to tell someone so young something so powerful, but in the end, it is best to face reality than remain in a fantasy – a coming-of-age lesson that you can’t ignore.

Parts of Fool’s Spring were inspired by the time Luke spent in LA with his wife. Five years ago, they left their home in Bristol and settled in LA, where they experienced plenty of highs and lows. We hear about this on “Nothing To Do In LA,” a slow-burning track that has all the makings of a sad breakup song. Over the hazy chords, Luke sings about the good times that were had, but he also remembers the loneliness. He shares, “Got nowhere to go now / What did we do to LA?” ready to leave this chapter of his life behind. We hear more on the closing track, “Santa Fe,” where Luke joins forces with Irish artist Lisa Hannigan. Together, they explore the splendors of the places Luke and his wife visited, as in lines like, “Take me back to Santa Fe / With the desert winds and fields of clay.” But ultimately, the track is a final goodbye to the LA dream, with Luke singing, “A memory of a moment come undone / A whisper of the dream I fear is gone.” Despite the somber verses, the beauty of Luke’s voice really shines, its light yet powerful and rich yet soft timbre offsetting the gloom.

Conclusively, Fool’s Spring covers those moments when you want to feel happy but not too happy, or sad but not too sad. It is an album about trying to find your way in life, even if that involves mourning the best of times. Eventually, the things you go through can lend themselves to a thoughtful song, which is how Fool’s Spring was created. Luke also learned that a thoughtful song does not have to sound dismal, hence the brighter soundscapes on the album. He claims,

“I used to think: I need my sad songs. But that side of me, at least for the time being, has died… a bit. I enjoy music that has a big smile. And I like where I’ve landed, where the lyrics have a yearning to them still.

“The thing I was protesting in my younger days was lyrical flippancy and shallowness – I just equated that with music that was upbeat. But actually, there’s plenty of upbeat music that has a lot to say. A lot of depth to it. And that’s what I’m aiming at with this record.”