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For any fan singer/songwriters, Chris Milam might surprise you. First, he’s young, and looks even younger. He’s no solo acoustic balladeer. He rarely sings in falsetto. His love is not unrequited. His heart’s not broken, and his soul’s not shattered. He sings to the crowd, not into his guitar. Rather than following the trends of his contemporaries, Milam’s prodigious talents place him in the longer tradition of classic American songwriters like Ryan Adams, Tom Petty, Bruce Springsteen and even Bob Dylan. Armed with a backing band and a sharp lyrical wit, he’s more comfortable within the confines of a timeless pop song, or a raucous blues riff, than a finger-picked ballad. In the summer of 2005, Milam released Leaving Tennessee, an alt-country record that earned him a regional fan-base and a wave of critical acclaim. The record’s hit single, “Whenever It Rains,” showed Chris’s already immense talent for pop song-craft and poetic lyricism. In 2006, Chris hit the road, touring the Southeast, Midwest, and east coast in promotion of his debut album. Now, in his sophomore effort, Milam has blazed a brand new trail for contemporary singer/songwriters. The Tin Angel EP is a triumph of pop song-craft, big-band energy, and Milam’s trademark ear for melody. From the opening horn line of “On My Way,” to the final note of “Don’t Give Up On Me Now,” the entire record is infused with contagious energy and infectious pop sensibility. “On My Way” is a piece of big-band gold, a great modern pop song with a throwback arrangement. “Only One” captures the expectant energy of a night out, building to the best horn line since Stax. The EP’s title track, “Tin Angel,” intertwines the separate stories of two lovers, now leading separate lives. Their duet in each chorus is perhaps the album’s most bittersweet—and beautiful—moment. “Shine” combines the big-band flourish of the first two with the pace and melody of “Tin Angel.” The result is a new classic in the long line of great American ballads. Finally, “Don’t Give Up On Me Now” freshens up an old form by incorporating Milam’s characteristic horn arrangements and witty lyricism. His songs are at once fresh but familiar, contemporary yet universal. The kind that keep you company on a cross-country drive, or backdrop a late summer barbeque. The kind that fill you with the expectant energy of Saturday night, or the sun-lit calm of a Sunday morning. The kind that soundtrack those first pangs of teenage love, or chronicle the beauty and sadness of youth. These are the songs that remind you where you’ve been, and give you a glimpse of where you’re going.
