Ian Roland steps forward with a gentle anthem that cuts directly to the soul in a never-uncertain world. His latest single, "Hang on to You," is a tender revolution wrapped in warmth and grit. The track snags to a place of great emotion, despite which love stands against modern life's room-temperature blandness.
From Roland's guitar's first gentle strum, a brutal authenticity reels you in. His voice is one of someone exhausted by what he's seen but who refuses to surrender hope. That hope comes not from escapism but from the deeply human inclination to hang on to connection when the world seems to be crumbling into bits. It's not dramatic or exaggerated, so it feels honest and ultimately hard-hitting.
The terrain of "Hang on to You" is lush but understated. Dave Coomber's basslines hum like a heartbeat, anchoring the track in quiet strength, and James Chapman's drumming supplies a steady pulse to keep the emotions flowing. But Mishkin Fitzgerald's hand at the piano and keyboards fills the atmosphere the most. The notes flutter and echo as thoughts too grand to articulate, intimate, and grand.
This track is so resonant in how beautifully it captures a sensation we've all brushed up against, aching longing to hold onto someone when everything else feels like it's slipping out of reach. Roland isn't heavy-handed with the message. Instead, he focuses on the beauty of simplicity and the force of truth.
Recorded at Brighton Road Recording Studios and co-produced with Jake Skinner, "Hang on to You" is well-executed but remains very human. Mastered by Bob Macciochi, the track is given a rich, all-encompassing feel, yet it loses none of its emotional grime.
Ian Roland has written a song that is more than the sum of its parts, a moment of quiet courage. "Hang on to You" is for everyone who holds onto love like a life preserver. It reminds us that sometimes, standing in place, holding on, is as radical as we can get. For some enduring this storm, Ian Roland's voice may be the lighthouse they hadn't realized they were missing.
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