Hailing from France, Billy Boguard is a mellow indie pop singer-songwriter based in London. His music is entirely heartfelt, weaving together intricate stories that tell the tale of his own predicaments. Blending together imagination, personal psyche, and fantasy, he is an immaculate storyteller.
The singer who gained fame for his appearance on “The Voice” in 2018, has also supported french acts Amir and Vianney. Billy now works with British Producer Dom Kirtley . ‘Eros’ is his latest EP, clocking in at five songs long and filled with anthemic choruses and grandiosely cinematic backings.
‘Evergreen Scars’ is a powerful opener. Here, Billy’s talent for writing catchy hooks is immediately obvious. “Tell me all the things I’m supposed to feel” sings an impassioned Billy at the chorus’ onset. The backing drums make the song what it is, giving the song an almost arena rock energy to it each time the chorus hits. Beginning with a cinematic minor-chord piano part before Boguard’s baritone, dominant voice hits, ‘Evergreen Scars’ is a passionate, confessional song that discusses his own personal attitudes towards pain, grief, and loss. In both lyrics and delivery, the pain is clearly felt.
‘Cracks’, released as a video in mid March, has already gained significant airplay with close to 60,000 views as I’m writing this. It’s not hard to see why. Cracks is Billy embracing a more pop driven production whilst retaining his uniqueness that comes through his emotive voice. Featuring cuts between Billy singing in different locations and the depiction of a relationship going through distraught, it’s a classic singer-songwriter hit. On listening, it even reminded me of the same feeling I had when I first put on a Hozier track.
On ‘Pedestal’, the style takes a sharp right turn. Featuring an infectious electric riff and a more groovy energy all around, the song instantly makes you realise that Billy is far from a one trick pony. It’s almost a dance song.
Right after that injection of energy, the album throws a more sullen track your way. ‘California’, backed by what sounds a lot like trap drums almost, is a uniquely modern interpretation of a timeless genre.
The final track, ‘Drive In’, begins with a slow and cinematic piano beat. Boguard’s vocals here are backed by a female choir that only adds an additional layer of awe to the album’s closure. Rather than end in any smashingly powerful note, Boguard chooses to let it be a soft, subtle, and emotive ending.
There’s no doubt in my mind that Billy Boguard’s latest EP is bound to be successful. With one video already being a hit, it’s not a bold claim. But for fans of singer-songwriter music, it’s a welcome new EP that is strikingly diverse and ambitiously grand.
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