Rock Hearts Release “Unfinished Bridges” 

Rock Hearts’ Unfinished Bridges is the third album released by this talented New England-based bluegrass group. The classic configuration of banjo, mandolin, guitar, fiddle, and bass never inhibits these first-class musicians from rethinking what bluegrass music’s possibilities are. It is a valid question two-plus decades into the 21st century. Scores of moments and passages scattered throughout Unfinished Bridges ground the style’s potential in a modern context rather than consigning bluegrass to the museums. It’s a living and breathing musical vehicle in their hands with the same power as ever to say something about what it is to be human.

The opener and title song, “Unfinished Bridges”, definitely does that. The Mark Brinkman and Eric Gnezda composition has a reflective spirit obvious after a single listen, and the vocals, solo or trio singing, capture the sense of miles covered and lifetimes lived communicated by the lyrics. First-time listeners to Rock Hearts will undoubtedly note the band’s easy yet compelling chemistry. They play as a fully integrated ensemble that never leaves a hole in their presentation.

They are also musically fleet-footed. The album’s second cut, “Walk Away”, changes direction from the opener without subverting the listener’s expectations. Rock Hearts affects a loose, first-take ambiance with the performance, and there’s a stronger bluesy influence than you hear with the other material. “Daddy Dixon” will be a favorite for many. The sense of place is strong throughout the track, and Rock Hearts’ vocals throw themselves into its sentiments. They task themselves with experiencing the material they’ve chosen rather than delivering mechanically on-point performances that never touch the heart. “Daddy Dixon” has a gripping arrangement as well that the musicians nail with impressive skill.

“I Know It’s Wrong to Love You” is another sharp change in music and subject matter. The inherent character of the former stays the same, but Rock Hearts tinges it with a strong country music influence. You hear it as well in the structure. The subject isn’t groundbreaking but is seldom covered compared to other relationship songs. Its vocals and music take full advantage of the song’s dramatic potential. The instrumental “Town Hall Clock” is a brisk and near-purist workout for the band but conjures images of Small Town, Anywhere USA at midday in simpler times.

The Theodore Chase DeMille and Rick Lang written “Tall Stands of Timber” is another of the album’s peak moments. It echoes the same strong sense of place listeners hear in the instrumental but goes even further thanks to the added dimensions of interpersonal connections in the song lyrics. The musicianship is as head-turning as ever. The great ones make it sound effortless, and Rock Hearts are no exception.

The finale “I Hardly Never Ever Think of You” is another song about love gone awry with a clever hook, firmly in the classic country music songwriting tradition. It never sounds tired in Rock Hearts’ hands. The New Englanders have a definite talent for revitalizing bluegrass’ time-tested tropes for modern audiences, and Unfinished Bridges presents them at or near the peak of their powers.

Nicole Killian