4 Songs, 14 Minutes

EDITORS’ NOTES

For Lewis Watson’s fifth EP in two years, the young English singer/songwriter teams up with two young female singers—Gabrielle Aplin, Kimberly Anne—and the male folk-pop duo Hudson Taylor to bring further counterpoints to his work. A rerecording of “Even If” that appeared on EP No. 2, Another Four Sad Songs is nicely redone, hinting at the mainstream appeal that this young man is hoping to find, tucked somewhere between his singer/songwriter heroes Damien Rice and David Gray. Aplin and Watson re-create Colbie Caillat and Jason Reeves’ duet on “Droplets” with a sweet touch that points out the melody's beauty. Kimberly Anne, who toured with Watson, brings a strong vibe to a cover of Everything Everything’s “The Peaks,” while the Irish duo Hudson Taylor join Lewis for an eerie version of Counting Crows’ “Colorblind.” Produced by Mike Crossey (Arctic Monkeys, Jake Bugg) and Richard Wilkinson (Lianne La Havas, Adele), the EP continues to illuminate Watson’s talents as an interpreter of other people’s songs and as a writer and performer of his own.

EDITORS’ NOTES

For Lewis Watson’s fifth EP in two years, the young English singer/songwriter teams up with two young female singers—Gabrielle Aplin, Kimberly Anne—and the male folk-pop duo Hudson Taylor to bring further counterpoints to his work. A rerecording of “Even If” that appeared on EP No. 2, Another Four Sad Songs is nicely redone, hinting at the mainstream appeal that this young man is hoping to find, tucked somewhere between his singer/songwriter heroes Damien Rice and David Gray. Aplin and Watson re-create Colbie Caillat and Jason Reeves’ duet on “Droplets” with a sweet touch that points out the melody's beauty. Kimberly Anne, who toured with Watson, brings a strong vibe to a cover of Everything Everything’s “The Peaks,” while the Irish duo Hudson Taylor join Lewis for an eerie version of Counting Crows’ “Colorblind.” Produced by Mike Crossey (Arctic Monkeys, Jake Bugg) and Richard Wilkinson (Lianne La Havas, Adele), the EP continues to illuminate Watson’s talents as an interpreter of other people’s songs and as a writer and performer of his own.

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