Album Review: Natalie Bergman – Mercy (Third Man Records)

The heavenly voice of Natalie Bergman emanates into the light with her solo debut album Mercy. The uplifting gospel is steeped in Christianity yet alludes to a universal soul-searching for spiritual answers with contemporary transcendent sonics.  

Produced at Jack White’s Third Man Records studio, with Warren Defever (His name is Alive & Elvis Hitler), input from Elliot Bergman and Erik Hall the LP includes vocals from both the Larry Landfair Singers and Elsa Harris. Natalie’s 12 tracks are self-penned.

As the younger sister of Elliot, Natalie paid close attention to her multi-instrumentalist brother and when she was 16 they formed Wild Belle.

In late 2019 they lost both their parents and Natalie was particularly affected by this loss. Emotionally torn she sought for a spiritual answer to ‘Where have they gone?’ Journeying back to her Christian roots, out of the ashes rose Mercy.

This album is a mix of sadness, contemplation, hope and uplifting joy.  There is an underlying theme of ‘home’ that runs throughout.

Tributes to her beloved father that she considered ‘My Compass – my North Star’ on Track 5: Home at Last, ‘The clouds collide – I am a motherless child’, Track 9: Your Love is My Shelter are lyrically raw as is Track 12: Last Farewell as she recounts first hearing the news “Brother, what are we gonna do now?’, ‘My funny Valentine – I hate to say farewell,’ ‘The pain in my chest was blinding’ refers to the close relationship she had with him. Poignant memories of  her stepmother are recounted in Track 11: Sweet Mary.

Instrumentally the sadder songs take the background with melodic piano notes, rhythmic hand drums along with the gentle hum of background vocals.

Track 1: Talk To The Lord oozes with hope and Christianity. It’s upbeat pace with wooden clackers, funky changeable drumbeats and synthesizers offset Bergman’s angelic voice.

Track 2: Shine Your Light (on me sweet Jesus) by comparison is ‘60s psychedelic funk pop. The visuals take the song to a new level with the vocalists dressed in shiny mirror discs that make up the sexy maxi dresses, platform heels and blonde beehive hairstyles that contrast with the lyrics.

This album has a varied mix of instruments and Natalie Bergman’s voice has a superb range with an ‘Amy Winehouse’ vibe in some of the songs. Along with her team, a remarkable album has been produced. A mix of sadness, contemplation, hope and uplifting joy and a theme of ‘home’ that runs throughout. The healing and cathartic process is evident.

As someone who has a slight cringe whenever I hear religion mentioned – I was pleasantly surprised. Blessed be Natalie Bergman – a fragile songbird who has shared both her undiluted pain and an evolution that will only enrich her future projects.

Megan Kemplay