GooseRadio Review – Webb’s “Stockholm” Misguided, but a Remarkable Journey Nonetheless

“Intentionally inorganic” is the phrase Derek Webb uses to describe his latest effort, Stockholm Syndrome, and while his signature acoustic sound may have been replaced with electro-beats and computer-synthesized bells and whistles, the allure of Webb, with his bold, often shocking statements, is still firmly in place.

In fact, its one shocking statement in particular that seems to be making this Webb’s most intriguing and controversial offering to date, but more on that in a moment. Overall, Stockholm Syndrome doesn’t veer far from Derek’s usual topics de jour of social justice and liberty in the Spirit, and perhaps the most moving moment on the record occurs during “The Proverbial Gun”, an analogous tale of a murderer being set free despite his crimes, in which he strains his voice to sing the word “free” over and over.

Not to question the artist, but instead of “intentionally inorganic,” perhaps “free” or “freedom” would be better suited to describe the heart of this record. Lyrically and stylistically, Webb seems to be flipping the bird at convention with one hand while holding a Bible in the other to back up his reasoning for doing so. In short, what should be a convicting album comes off as condescending. For example, in “The Spirit Vs. The Kick Drum”, Webb proclaims, “I don’t want the Son, I want a jury of peers…I don’t want the Father, I want a vending machine.” These can be accurate and arresting statements but one never feels as if Derek is singing about himself but rather “those types of Christians.”

Just about every song on the record is provocative in some sense, whether it’s the strange tune “Freddie, Please” written to Fred Phelps, the unsavory “pastor” behind God Hates Fags, or the nearly danceable “Jena & Jimmy” which seems to be a cautionary tale about a one night stand. Of course, the most talked about track on the album is “What Matters More” a song so controversial that it’s forced Webb’s label to release an “explicit” and “clean” version of the record when the physical release hits stores September 1st (the album is already available as a digital download). There are several layers to the song both sonically and lyrically, but at its core is the question, “Does someone’s sexual preference really matter when compared to all the suffering in the world?” A reasonable question, but Webb’s method of questioning is, well, questionable as he sings:

If I can tell what’s in your heart by what comes out of your mouth
Then it sure looks to me like being straight is all it’s about
It looks like being hated for all the wrong things
Like chasin’ the wind while the pendulum swings

‘Cause we can talk and debate until we’re blue in the face
About the language and tradition that he’s comin’ to save
Meanwhile we sit just like we don’t give a sh*t
About 50,000 people who are dyin’ today

Tell me, brother, what matters more to you?
Tell me, sister, what matters more to you?

The word around the blog-o-sphere (the internet is always reliable, right?) is that the “give a sh*t” line is derived from a Tony Campolo quote of the same nature where he asserts that 50,000 people are dying every day and we’re more concerned about the fact that he said sh*t. It’s a somewhat legitimate point, but the message of dying people gets lost in the medium of a profanity.

To be sure, Stockholm Syndrome is not background music. It’s intelligent, thought-provoking and challenging, and even with its finger-pointing and misguided barbs, its well worth your time and attention.

Piece contributor Alex Whitworth is a radio personality in Minnesota’s Twin Cities. A graduate of Northwestern College, Saint Paul, he’s the recipient of a rich tradition of media and music passed down in his family.