Waitin’ To Be Seen is an enveloping double album from Chris Bullinger, presenting a range of poetic lyrical narrations within a catching blend of classic rock and country. Joined by a talented band of Nashville-based musicians, Bullinger crafts a successful release whose chronology resembles a collection of short stories, comprising a “Part 1” and “Part 2” across its 23 songs. “Its overarching narrative speaks to a quest for authentic connection,” Bullinger says of the album. “As if this depth of connection gives you some kind of recognition—like someone hearing the tree that fell in the woods.”
The riveting storytelling and escalating structural tendencies are on display with the opening track “One Complete Connection.” “Drunk all day, up all night,” Bullinger sings amidst serene wordless backings, ascending into a frolicking folk-ready optimism that exudes “heading a new direction,” as one gets back on their feet and embraces the search for “one complete connection.” The shift to another character arises in the following verses, attaining a similar soul-searching and drive for renewal; it’s a fantastic kick-off to a lovely album from Bullinger.
A rollicking rock vigor is more apparent on “Doin’ Bad Good,” where enthusiastic vocal vigor and twangy guitars conjoin for an memorable chorus and concluding guitar-set suaveness. “Sunrise, sunset,” the vocals commence during that electric chorus, hooking with replay-inducing effect. “Darlin’ ‘n’ Me” continues that debonair rock entrancement, melding organs and subdued guitars within a smoky vocal immersion. The guitars appear with sporadic effect, as the reflective backing vocals add further to the throwback charisma.
A folk-set retrospection returns on “Carving Tree,” reminiscing on memories of love within calming keys and hazy acoustics. “She used to like making love to me,” Bullinger sings. “I’m the pain in her memory.” The heart-aching sentiments send chills as the calming vocal layers and lush tonal disposition intertwine. “I drink a couple more to ease the pain, of hurting her,” the vocals continue, cementing the sense of yearning and self-blame; the album continues to captivate in its themes of personal reflection and self-analysis, here stirring with tales of past love, beautiful memories, and the mistakes that can cause erosion.
From the slow-burning twangs of the gorgeous “I’m Not Comin’ Back Home” to the brass/organ/guitar interplay on the Tom Waits-esque, New Orleans-inspired finale “Payin’ Dues,” part one of Waitin’ to be Seen enthralls with its range of stylishness and songwriting introspection. The second part continues the quality seamlessly, ranging from the Dylan-esque “Better Half,” the string-laden balladry of “Meet You Down the Line,” and the country-ready charm within “Salvation As I Know It.” The latter is especially moving in its lyrical direction, contemplating death’s role in birthing religion, and its metaphorical tie-in with the end of a relationship.
Waitin’ to be Seen is a thorough success from Chris Bullinger, impressing in its lyricism — spanning from relatable heartache to heady metaphorical pursuits — and melodic consistency. The two-part, 23-track listening experience is fully recommended.
