Metropolis Blue

Unencumbered by the fickleness of fashion, Jack Lukeman (or Jack L, as he is better known) has carved out his own niche in the melting pot that is music in the '90s. He has left the shade of Brel behind and has followed his own vision, which still has its roots in the romantic balladry of Scott Walker, Nick Cave and Frank Sinatra.

Lukeman's voice is powerful and fluid. His range too is impressive, from the deep baritone resonance of 'When The Moon Is High' to the aching falsetto of the magnificent 'Rooftop Lullaby'.

Current single, 'Ode To Ed Wood' is a mixture of old-school Vegas cabaret and a more sleazy (bi)sexuality, with a wonderful singalong chorus of "I like girls and I like boys/I like leather, I love your toys"; all the while, the music is as slick as a brylcreemed barber. 'Georgie Boy' is epic in scope yet parochial in feel, with Jack urging one of his old friends to get out of the rut he finds himself in, as he reminisces on his youth: "Do you remember that summer evening, when you stole your father's car/You said 'Hey boys, I'm leaving', but you didn't get too far/You had this way of talkin', you said, 'I'm gonna be a star!"

'Bedsprings' first surfaced on last year's Acoustico, available only at Jack's gigs, and since then has transformed into his sleazy bed-track, with Jack as the philandering seducer, his honeyed words gaining him access to the inner sanctum of his conquest's parental home: "Love me in the doorway, I'll love you on the stair/With the whole house sleeping, we'll strip our bodies bare/And gorge ourselves before the morning takes me home."

The title track 'Metropolis Blue' captures the tone of the entire album, Jack verbalising his dislike of cities, from his position as a "country boy with no change" while "city girls are so expensive", on what is a truly beautiful and affecting song.

It would be easy for the music to become overwrought, to try to compete with the power of Lukeman's voice, but thankfully the band provide the perfect accompaniment, Derek Harrison's drums keeping the pace steady, Ginger O'Keefe's bass pushing the song onwards and David Constantine's guitar constantly prodding and enticing, ably helped on occasion by Brian Lynch's piano and Emer O'Grady's haunting cello.

Wax showcased Lukeman's raw talent and incredible voice, gaining him legions of new admirers. Acoustico displayed the promise of things to come, but Metropolis Blue sees Lukeman and his band realising their vision. This is a timeless collection of fine songs, beautifully delivered, from an artist as unique as Ireland has ever produced.