Glide Magazine | The Ever Defiant Bonnie Whitmore Steps Out on Explosive 'Last Will and Testament' (Album Review)
Okay, the headline is a bit inaccurate as Bonnie Whitmore did release her own 2016 F*** With Sad Girls, the title of which indicates that she’s the no-nonsense, take-no-prisoners type. All of that and more is on display on Last Will and Testament. Yet, for the past two decades, Whitmore has had a long career as a sidewoman, playing bass and singing with some of the biggest artists in the Americana genre: Hayes Carll, John Moreland, Eliza Gilkyson, Sunny Sweeney, Jimmie Dale Gilmore, and Butch Hancock, to name a few. She’s also maintained a weekly residency (pre-pandemic) at the legendary Continental Club Gallery in Austin, where she lives. Our own Mary Andrews conducted a compelling interview with Whitmore on these pages, posted on Sept. 1, which is certainly recommended companion reading.
Whitmore co-produced the record with Scott Davis, who also co-wrote, “Right/Wrong”. They recorded at Ramble Creek Studio in Austin with engineer Britton Biesenherz. Craig Bagby (drums), Trevor Nealon (keys), and BettySoo (backing vocals, accordion), all members of Whitmore’s band the Sad Girls, are fixtures throughout the record.
Bonnie grew up steeped in music and flanked by strong women. She toured in a band with her parents, Alex and Marti at age fifteen, already having learned to play cello, bass, and rhythm guitar. Her older sister Eleanor (now one-half of alt-country outfit the Mastersons with husband Chris Masterson) contributes violin and string arrangements on the album. A professional pilot, Alex Whitmore would fly the family to gigs at remote Texas bars and crowded festivals and among her many talents, Bonnie is a licensed pilot as well.
Through her last record, Whitmore has already developed a reputation for being direct. She makes no bones about it and is proud of her persona. This album is full of topical songs, tackling suicide, rape culture, loss, and the great American divide. Quoting from Mary’s interview, Whitmore says, “…What I’m really hoping to do with this record is to create a space to have these types of conversations. A lot of these subjects are not new to each individual, but there is a lot of fear and shame around a lot of it. It keeps us from actually being open about it and wanting to talk about it. The underlying theme for the entire record is a need to access why we continue to maintain patriarchy and also bring out the discussion for mental health. The subjects need to stop being taboo. It’s something that affect us all right now. Many people wouldn’t have any idea that they would have depression until they go through something like this. It’s something I recognize and something I’ve seen. I want to try to help that conversation to happen. There has to be a way to allow people to heal from this or at least have a way to find some solace and peace.”
These comments focus not only on the overall theme of the album but the opening title track which was written after losing yet another member of the music community to suicide. “None of My Business” was written after the 2015 terror attacks in Paris. Whitmore’s gorgeous vibrato is the star on this lush, vibey track where she brings out her cello. Whitmore is urging us to move forward, to put the sadness behind us. It’s a good example of the pop and retro musical sensibilities that often buffer the tough topical subject matter throughout the album.
“Who do you want to be?” she asks in the song “Right/Wrong.” “What do you want to say?” “What’s the point of liberty in the land of the free, without you and me?” It’s a good example of Whitmore’s approach. Rather than preach she wants to open the doors to open discussion. Listen carefully as this song is not all about protest as underneath it carries a message of justice and true patriotism. ”Asked for It” uses a punk rock attitude and driving rhythm to get the listener take a hard look at the nature of rape culture. It was written in response to hearing Missouri Rep. Todd Adkin’s “Legitimate Rape.” Initially, it was met with a stunned reaction when performed live. Nowadays it becomes an audience singalong. “Time to Shoot” was written after The Pulse nightclub shooting in Florida, an incident that brings Whitmore back to Columbine when she was in high school, realizing that not much has changed. Hate is even more amplified today, unfortunately.
Be assured though that you will find some satisfying emotions on the album too. The radio-friendly “Fine,’ co-written with singer-songwriter Jaimee Harris, is an upbeat tune about the vicissitudes of relationships. “Love Worth Remembering” is about the meaning of unconditional love, set to a throwback ’60s R&B feel. And “George’s Lullaby” is a beautiful tribute to her friend and mentor, bassist George Reiff, who recently passed.
With her wonderful, oft alluring voice and musicianship Bonnie Whitmore is the epitome of “put your music where your mouth is,” becoming an emerging voice for these troubled times.