There’s a little song called “Chloe in Pasadena (The Kind of Guy I Am)” from the new Andy Gullahorn album The Law of Gravity that perfectly summarizes his artistry.

 

In it, he sings about how his songs aren’t flashy or profound or trendy or even upbeat: “I can’t write any songs that have a funky beat/That make you want to dance, that get you on your feet/They’re more likely to put you to sleep/That’s the kind of guy I am.” There’s even a nod to the brilliance of Sufjan Stevens (“…songs named after random states…”) and other songwriters he respects, but in the end, Gullahorn charmingly concludes it’s okay to write songs in his own way because songwriting (like all art) is a reflection of who we are.

 

How ironic, considering that the song downplays Gullahorn’s cleverness even when it’s perfectly clear the guy is very clever—including the throwaway title, never referenced in the song, but rather a parody of indie/folk songwriting. It reveals Gullahorn as a gifted songwriter who can write from the heart while still using his mind.

 

That much is true for the bulk of The Law of Gravity. Gullahorn’s insights into songwriting are also demonstrated in “Brand New Song,” about the expectations we bring when listening to new music, and “Workin’ Man,” a bonus track that hilariously boils modern country music down to a formula. He’s also got a funny song about plastic surgery (“Money Where Her Mouth Is” that I won’t spoil here.

 

A few of you (too few, I fear) may recognize “Resurrection” and “Any Other Way” from Jill Phillips’s (Gullahorn’s wife) latest album, The Good Things. The first song is a moving and personable reaction to bad things happening to good people, while the latter focuses on the effort needed to keep marriage strong. Gullahorn offers two new songs that are similar in scope: “Why You Brought Me Here” is a conversation with God in response to hurt and brokenness, and “New Pair of Eyes” poignantly provides a knowing glimpse of the changed perspective that comes with marriage and parenthood.

 

I also love the way Gullahorn writes so personably and creatively about faith. “Someone to You” simply notes that mattering to God is all that matters, but phrases it cleverly: “I could be nobody as long as I’m someone to You.” Then, “In My Bones” shares how we don’t all have supernatural encounters with God, yet faith still reveals him in our lives: “My heart wants to see some proof/But my heart knows it’s no use.” And “I Haven’t Either” is masterful, starting out somewhat humorous in noting how he’s not outwardly fake like other people, only to reveal through a crushing ending that he’s not completely honest with himself either.

 

Going back to that “Chloe in Pasadena” song, Gullahorn also mentions how his songs might seem boring to some. Unfortunately, his observation is spot on there as well. The album is a little plain sounding overall—not just a folk singer with a guitar, but pretty close for most of the songs. At least “In My Bones” has a bit of a pulse with the acoustic pop arrangement, and the aforementioned “Workin’ Man” reflects the pop-country it deconstructs.

Some would say Gullahorn’s stripped down sound better allows his songwriting to hold our attention. Clearly that’s not true for those who believe his songs sound boring. Why not have it both ways? I think of folk-pop artists like Andrew Peterson, Bebo Norman, James Taylor, and the late great Rich Mullins—all of them blended folk music with pop arrangements. Listening to the songs on The Law of Gravity, I think several of them would have similarly benefitted from a little more sonic imagination.

 

Of course, if big production and trendy sounds are what matter most to you, then chances are this album is not for you. Those who crave insightful, Christian-inspired songwriting, however, come right in; though it may be a rarity these days, Gullahorn’s got it.

 

Standouts: “I Haven’t Either,” “Chloe in Pasadena (The Kind of Guy I Am),” “In My Bones”

 

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