At 58, Ealing-based independent artist 50mething reels into the lingering, war-mongering haunted with โGaza (on and on and on).โ Named after an obvious location of strife the world has caught on after three years of constant bombardment, he puts out yet another story-driven track rooted in real-world conflict, refusing to sugarcoat the harsh edges of reality and face the evil head-on.
With a clear lineage in his sound echoing the thoughtful chord work and lyrical weight reminiscent of Stevie Wonderโs socially conscious era, it is filtered through a raw, DIY ethos. Recorded largely from his home setup and later refined with mastering support, the track carries the intimacy, authenticity and urgency, like a message scribbled in the margins of history.
โGaza (on and on and on)โ unfolds with punchy music and clunky beats that march forward in a stubborn groove, mirroring the relentless cycle it describes. The instrumentation feels grounded, even heavy at times, as if weighed down by the very subject it tackles. Over this, 50mething layers his higher, more fragile voice hovering above a softer, murmured layered vocal undercurrent. It might as well sound like the two emotional states of grief and desperate questioning colliding.
He sings, โIs it written in scripture/Was it set in stone some time?โ questioning if all the violence and murders of innocence can be excused in the name of religion? Elsewhere, he paints stark images of a land sacred to many, now reduced to ruin. He reckons how the ancient land going back to thousands of years of civilization, important to all three Abrahamic religions, is now being destroyed for the sake of ownership. In this line, โThis promised land, this hallowed land is lostโฆ now nothing is gonna grow here anymore,โ he illustrates how the destruction leaves none of the heritage on earth.
By the time the refrain circles back, โon and on and on,โ it comes like a warning. 50mething is holding up a mirror, which is powerful and courageous enough. Listen to the heartfelt song on Spotify.
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Review by: Naomi Joan