Incredible classical guitarist, Royal Academy of Music alumnus, and musical contributor to several Broadway shows, Steve Gibb returns with his latest album, Circles of Light. And after his last immaculate release, Island of Woods, we were, admittedly, “extremely giddy for more Gibb.” So, let’s tackle the highlights from Steve Gibb’s latest collection of uplifting, mood-wringing, emotionally penetrating acoustic guitar.
Tell me more…
Quoting Steve, “Circles of Light follows on from my previous two although this new album is again more personal (as was The Boatman [2021]). I play 4 different guitars utilizing several different tunings on this album and include other instruments (Harmonium, strings, Synths) on the track “I Horo ‘s Na hug Oro Eile.” “Callanish” also has some sound design elements like a reversed guitar effect at strategic points.This recording took place over three nights in September 2024 followed by a few days of editing and mastering. I tried to simplify my process and have been impressed with the sound quality and the results overall.”
Now, let’s hit those highlights.
What really moves us.
The album begins with “Never Far Away,” and the feelings it conveys are multitudinous: a longing for someone; a lament, but a steadfast reassurance; a sturdy confidence, but a deep understanding of fragility. A gorgeous, GORGEOUS piece that ends on a positive, supportive chord.
“I Horo ‘s Na Hug Oro Eile” is reverb-enriched guitar over hovering, persistent strings; they change, but only steadily, as Gibb’s acoustic plucks a dynamic lament. And when the song ends, those lingering foundational strings fade into the reverberating distance.
“Wib’s Sting” is more aggressive. It’s a traveling over rocky hills, and perhaps by seriously damaged three-wheeled carriage. Moving from the light to the slightly melancholic, as if challenged, “Wib’s Sting” returns to its earthy tenacity.
“Cercles de Lumière” may boast my favorite melodies. There’s a celebration here, and a brief transition to something resembling a jig. It’s romantic, perhaps wounded, but not resigned to suffering. And with ringing, gentle harmonics, the song commits itself to an honorable, peaceful end.
“Squire Wood’s Lamentation” is indeed just that – a musically conveyed lament. Perhaps a once magical, wooded place has passed, but its warm and tightly hugging memories still linger. In each note, I see where the old river flows; I see the green, towering fields, and the pebbled roads where childhood friends ran and pounced upon. I see it all; I see it all taken away; but just like Steve, I cherish the almost palpable memories as a persistent escape.
“April Storms” is fervent, threatening picking. There’s a desperation here. An urgency. There’s beauty in the frenetic, almost frantic pace. As a storm arrives and settles in to deliver its pelting, Steve Gibb’s guitar captures every rainy, face-pelting gale, every disturbed and nervously circling animal, and every shaking aluminum awning. It’s inspired, anxious, and ends in a slicing, harmonic ring.
“Blue Sky, Blue Sea, Blue Me,” originally recorded by British instrumentalist group The Shadows (who, by the way, were Steve’s childhood guitar heroes), receives Steve’s magical arranging. It’s mid-paced, kind of lingering, and something simply transfixed by the moment. It’s strong in places, gentle in others, and in general, something of exquisite, handheld beauty.
Album closer “What the Folk!,” an arrangement of two classic folk songs – “Will Ye Go Lassie Go” and “Wild Mountain Thyme” – was a successfully captured and recorded improvisation. It’s relaxed, introspective, serene, and in a way, simply sitting and being. And then, an urgency arrives, an aggression, and a reason for hasty traveling. A melodic, percussive playing takes over, and we’re taken to the end by way of rough, downward-spilling waters. The perfect, energetic ending to an overall stunning album.
But is it good?
“Good” doesn’t do the music, or Steve Gibb’s arranging/playing/recording, any justice. These are the words I’m looking for: amazing, superb, uplifting, transcendent, and absolutely unbelievable. Circles of Light is the perfect marriage of skill and emotional expression; a body of work that bonds with you immediately, and elicits a need to return and derive more wonder from its always giving fountain of layered musicality. You will love it, be drawn into it, and be uplifted or saddened by it. If you want your music to encapsulate every feeling – to be moved by every feeling – then Steve Gibb’s Circles of Light is your new emotional masterpiece. HIGHLY recommended.
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