JW Francis has always embodied the spirit of a nomad. His 2021 album, WANDERKID, was based on a character seeking refuge from modern life’s complexities. Francis did just that shortly after its release—embarking on a 2,000-mile hike through the Appalachian Mountains. On his fourth and latest album, SUNSHINE, he reflects on the journey: “I had to get up; I had to get out of my mind. Changes always get me aligned, and I always wanna shake it up.” The lo-fi legend emerges from the wilderness with a new batch of songs that serve as a high watermark in his growing oeuvre.
Born in Oklahoma, Francis spent time in Paris and Vermont before attending Columbia University in New York City, where he currently resides. The songwriter got his start releasing a slew of bedroom pop singles before releasing his full-length debut, We Share a Similar Joy (2021). Since then, his output and striking guitar-centric indie pop have remained consistent. Francis layers guitar motifs and builds colorful harmonies that give his songs their trademark brightness.
On SUNSHINE, he executes the instrumentals with more intention and sophistication. The sound quality has improved markedly but is still anchored in the lo-fi charm with a compressed and warbly guitar tone that sounds like it’s playing on a worn cassette. His vocal delivery, slacker-like and kissed with distortion, has also remained steady, emulating the dopey drawl of rock poets Lou Reed and Kurt Vile.
The opener, “Orbit”, builds from a bouncy synth to stacked guitar flourishes. A dancey drum beat enters and then runs on autopilot throughout the song. Francis’ vocals are quick but monotonous, and his lyrics are clever, expressing gratitude towards his muse who brings him life and makes him want to be a better person. “Turtleneck Weather” is supported by strumming acoustic guitars and a 1990s-type breakbeat.
“Pretending” is based around whirring and dotted guitar figures. Again, the drumbeat is upbeat, danceable, and optimistic. When the chorus hits, the chord progression shifts, but the beat stays constant. “Treasure” takes a slightly slower tempo and features a buzzy synth. The chorus is fluttery and half-time, making it hit with more force. “More Hurt For the Hurt Pile” takes a slightly darker tone, but the guitar work still sounds luminous, sounding like South African mbira (finger piano). The song has a waltzing sway with a meter of three.
“Mississippi” sparkles more with layered guitar phrases. Following SUNSHINE’s release, Francis commemorated the occasion by paddling down the Mississippi River. Even when Francis is hurt, like in “Heaven”, there still seems to be a glimmer of hope and cheerfulness. “Coming Up For Air” is another banger, and the guitar melodies and drum beat make this song pop out.
At this point in the record, JW Francis asserts himself as a gifted songwriter. His introspective lyrics and luminous instrumentals, while with just a touch of melancholy, work really well. He expands on this with a bit of humor on “Turtle Power”, a track that perhaps reflects one of the album’s escapism themes. Maybe turtle power means slowing down. The thread is more transparent in “Hundred Acre Wood”, where he sings about wanting to live in the woods. “Picture That” takes on an In Rainbows Radiohead feel with the arpeggiating guitar and the slight shift into his falsetto.
However, Francis’ songwriting definitely shows a noticeable pattern near SUNSHINE‘s bookend. While the songs share some similarities and start to blur together, his knack for crafting catchy melodies and reflective lyrics keeps things engaging. There is potential to strike mainstream, as his music follows a vibe reminiscent of Phoenix or the Strokes. Regardless of intentions, though, Francis continues to prove himself after each release, executing his ideas with precision and showing exceptional growth while maintaining a firm root in the DIY lo-fi spirit, and SUNSHINE is yet another example.