It’s been a long decade since Gemma Hayes last graced us with an album, but her return with Blind Faith is worth the wait. The Irish singer-songwriter, best known for her delicate yet emotionally charged melodies, has come back with a work that feels both deeply personal and widely resonant. If her 2014 album Bones + Longing hinted at introspective isolation, Blind Faith plants its feet firmly in the soil of reawakening, a kind of musical phoenix moment, but without the dramatic flames — more like a slow burn you only notice when you’re fully immersed.
First things first: Hayes has never been one for sonic fireworks, and she isn’t starting now. This is an album that demands a bit of patience. Imagine a late autumn evening, when the last of the sun gives way to a cool dusk, and you’re wrapped up in a sweater, quietly reflecting on your life decisions. That’s the space Blind Faith occupies — and it’s not a bad place to be. It’s an album built for introspective drives and slow Sunday mornings rather than for lighting up your Friday night.
Let’s start with the opener, “Eye For An Eye.” Right off the bat, Hayes pulls you in with her breathy vocals over a softly plucked guitar, joined by Lisa Hannigan’s subtle yet effective harmonies. There’s something wonderfully understated about it — like finding an old letter in the attic, yellowed but still meaningful. The song rises just enough to get you hooked, but not so much that it shouts for your attention. In a world where everyone’s screaming for your ears, Hayes whispers, enticing you into an album with much more to offer the listener.
One of the most surprising moments on the album is “Another Love,” where Hayes duets with Bell X1‘s Paul Noonan. Here, we’re given a rare, almost cinematic quality to her usually understated sound. It’s a song that could be the soundtrack to one of those ‘glance across a crowded room’ moments in an indie romance film. But before you get too wrapped up in its sweetness, the lyrics cut deeper, exploring the kind of love that leaves scars but keeps you coming back. It’s haunting and beautiful in equal measure.
“Hardwired” feels like a Gemma Hayes we haven’t heard before, and she seems to be having fun on this one. I bet this sounds great played live, and 23 years after her first EP, it’s refreshing to know Hayes’ songwriting can still surprise those of us who have been fans for her whole career.
Hayes certainly has a gift for creating songs that pull you in gradually, and “Feed The Flames” is no exception. It builds with a subtle intensity that stirs you out of the comfort you’ve settled into. She has a way of keeping tension bubbling just beneath the surface—never exploding, but always keeping you on edge, quietly captivating.
“The Break Didn’t Heal Right,” despite its evocative title, is the only song on the album that doesn’t quite hit. The lyrics are powerful, dealing with unhealed emotional scars, but the track itself meanders a little, never quite delivering the impact it seems to promise. You get the sense that it’s holding back when it could have pushed harder, leaving you wanting a bit more grit or bite to match the rawness of the theme.
That said, Blind Faith truly shines in its moments of vulnerability. “Can’t Kill A Hunger” is a standout, with Hayes stripping things down to just her voice and minimal instrumentation. The raw honesty in her lyrics takes centre stage here—you can feel her exhaustion, her yearning, and her quiet determination. It’s these stripped-back moments, where she allows her emotions to seep through, that make the album so compelling.
Musically, Gemma Hayes is as hard to pin down as ever, and that’s part of the album’s charm. You can hear a folk influence throughout, but there’s also a hint of ambient soundscapes that give Blind Faith an atmospheric depth. At times, you’ll catch echoes of Joni Mitchell’s introspective storytelling, especially in the way Hayes crafts personal experiences into relatable themes. But there’s also a touch of The National’s melancholy in the production and authentic storytelling.
What makes Blind Faith stand out even more is the story behind it. After stepping back from music to return to Ireland and focus on raising her family, Hayes seems to have rediscovered her voice with a deeper sense of purpose. There’s a feeling of quiet reflection throughout the album as if Hayes is sharing a wisdom earned from time away.
Occasionally, the album’s subtlety might work against it just a bit. There are moments when you wish Hayes would push a little further and take a few more risks. But perhaps that’s not the point of Blind Faith. It’s not about big, flashy statements. It’s about quiet strength—the kind that comes from weathering life’s storms and emerging, not necessarily triumphant, but at peace with where you are.
It’s great to have her back.
Blind Faith is set for release on 27th September through Townsend Music.
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