UK, Liverpool-based singer-songwriter, composer, and music educator Neil Potter crafts emotionally rich folk-rock shaped by personal storytelling and technical precision. While balancing a 15-year career in education with his independent music releases, he has refined a sound that blends classical influence with alt-rock grit. Now, his latest release, Shipwrecked, a 2025 single paired with a music video, leads into his debut album Out of the Fjords and into New Found Lands.
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Shipwrecked begins with bright, clear band instrumentals that feel almost misleading in their warmth. The guitars move with an easy lift, and the rhythm settles into a folk-rock pulse that carries the same steadiness as someone trying to convince themselves they’re fine. When the vocals enter, “It’s been so long since I’ve been home,” they take on a storyteller’s cadence: open, unguarded, and shaped by the weight of lived experience. The brightness of the arrangement works deliberately against the lyric’s darkness, and this tension becomes the track’s emotional axis.
The verses outline the exhaustion that comes from living with intrusive thoughts and long stretches of inner disorientation: “The memories, they tear me apart… the sleepless nights.” Yet the song never collapses under its weight. Instead, the chorus rises with a gentle push, “I survived… all I could do was hold on tight.” The lift feels like someone pulling themselves forward out of habit rather than hope. Here, the music mirrors a very specific emotional state: the point where someone stops fighting the storm and simply holds on because there is nothing else left to do.
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As the song progresses, the tone shifts. The second half carries a more rebellious edge, and the instrumentation grows sharper. The contrast highlights the turning point in the narrative: choosing to walk away from someone who refuses to help themselves, especially as the lyrics declare, “That’s the difference between you and I.” The imagery of land versus shipwreck becomes explicit with “Land… land… land,” before turning the final line outward: “While you find yourself shipwrecked.”
The arrangement then darkens, tightens, and finally breaks open like surfacing after being held underwater. Lastly, Shipwrecked lands on a brutal but honest realisation: you can’t save someone who keeps choosing their own chaos. It isn’t just about drowning inside your mind—it’s about watching someone you love go under by choice, even as you’re reaching out to pull them back.
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Figuring out my path while actively plotting ten others. Serious about my dreams with somewhat chaotic ambition. Will do anything for cats.
