Jennie Arnau - A Rising Tide (2025) Hi-Res

This artist explores her struggle & emotional journey during the last decade through these highly personal songs. However, coupling this with activism can, in some respects, limit the reach of the music. But Jennie Arnau’s intriguing voice is captivating. She doesn’t lack the value-added necessity of being entertaining. She is. Those who don’t agree with a musician’s ideals may still come away tapping their toes or singing along, because the music is good. This won’t ruffle feathers.

There are 14 waves in A Rising Tide produced by Phil Palazzolo & Jennie (vocals/acoustic guitar). The original songs of resilience & determination have accumulated through a difficult decade, when a hiatus was necessitated by her mom’s dementia. There are also songs motivated by Jennie’s activism on behalf of marginalized people. So, ultimately, a lot to digest.

This return to her creative endeavors blends a few ounces of Southern rootsy music (“The King,” “Better Luck Next Time”) with a Grateful Dead/Jerry Garcia Band creative vocal line once occupied by the now late Donna Jean Godchaux (“Rain,” “Sunrise”). However, there’s also Jennie’s mainstream New York Brill Building-polished tunes. She has a folky tint but also the mainstream pop-delicacy of Carole King & singers of that stripe.

Her tonality is warm, strong & succinct. Each composition is wonderfully rendered. Of all the tunes, her slow balladry of “Sail Away,” “Young & Alone,” & “Hold On” is decisive. It suggests a future as a jazzier easy-listening chanteuse if that’s where she feels comfortable. Her voice has a mature projection (“Heaven In Her Eyes”) in tenderly etched melodic lines.

Jennie may have been away from the music for a spell, but the music was never far from Jennie. Her playfulness comes in the Laurel Canyon-like tale of “Mabel.” Quite good. It resurrects an era of clever, imaginative lyrics & music, summoned ghosts. This is deliciously conjured. Regardless of what some might interpret, something beautiful is simply beautiful & should be appreciated in the spirit in which it was made.

This return to music isn’t business as usual. Jennie may not be aware that time away has had a subconscious effect on her work. The album is consistently pure in essence. It doesn’t rock, it doesn’t really pontificate, or lecture – it flows willfully, bubbles up in spots but delivers with a good balance of intuition.

She may be more Buffy Saint-Marie than Joan Baez. More Ferron than Phranc. This is an exceptional showcase.