John Southworth – The Red Castle: Album Review

By John Barlass on 27th November 2025 • ( Leave a comment )

Conceived in the months between his father’s medically-assisted death and a journey through Europe, The Red Castle – the new album from Canadian singer-songwriter John Southworth – reflects on lineage, loss and time.

Release Date: 14^th November 2025

Label: Tin Angel Records

Formats: CD / Vinyl / Digital

MUSIC THAT DEFIES CLASSIFICATION

Toronto-based singer-songwriter (and performer/author/video-maker) John Southworth has been releasing music for almost 30 years. His debut album, Mars Pennsylvania, came out back in 1997 and he has (at least) 15 full-length albums to his name, including his most recent offering, When You’re This, This in Love (2023). 2014’s Niagara is a 2LP set that’s widely considered to be his masterwork.

Southworth’s music defies classification. Over the years, he has incorporated pop, orchestral arrangements, jazz, folk and much more into his repertoire and with The Red Castle, he continues along that eclectic route. Conceived during the months between his father’s medically-assisted death and an extensive journey around Europe’s most gothic, sepulchral destinations, The Red Castle chronicles John’s “experiences… and his reflections on lineage, loss and time.”

INHABITS A QUIET SPACE…

It’s a singular album, of that there’s no doubt, and it’s an album that rewards deep and repeated listens. Produced by Jean Martin, the album features such early-music instruments as nyckelharpa, viola de gamba and Portuguese guitar, alongside more conventional instruments that include piano, strings, woodwind and double bass. Contributing musicians include Philippe Melanson (percussion), Christine Bougie (guitar), Karen Ng (sax and clarinet) and multi-instrumentalist Charlie Spearin.

Like much of Southworth’s work, The Red Castle resists simple classification. John himself has described the finished album as: “…an attempt to bridge song and prayer” and suggests that the music inhabits a quiet space between folk tradition and modern songcraft. And that’s as fitting a description as any alternative that I could think of.

RELIGIOUS OVERTONES AND ANGELIC BACKING VOCALS

Opening track, Moonball, sets the tone and template for The Red Castle. It’s a piano ballad and I’m immediately struck by the similarity between John’s woozy, intimate vocal and the style adopted by Paul McCartney during his late Beatle period, a likeness that is emphasized by the angelic backing vocals and the slowly-emerging strings. Religious overtones are ever-present in John’s lyrics and the song verges on the territory that’s often denoted as ‘weird,’ without ever really crossing the red line.

A thumping, persistent drumbeat provides the foundation for an intriguing collection of instrumentation in lead single, Town of the Castle. Words cascade forth as John revisits the French leg of his European trip and the tune – which doesn’t always go where you’d expect it to – completes the evocative picture.

A BURNING CHURCH AND A MIRACLE LOAF

John’s voice takes on a world-weary tone as he ‘communes’ with the titular Saint in the warming-yet-disconcerting Saint John’s Flood. Strings and woodwind complement the old-world imagery of John’s lyrics as he re-lives the Normandy section of his trip. And, from Normandy, we head to Paris for the alluring Burning of the Notre Dame. Hollow percussion and loose guitar chords provide the accompaniment, as John recalls walking past the blazing cathedral, noting, as he walked, the effect that conflagration was having on those watching: “As the fire took the spire with a crimson flame, everybody bowed to pray.”

John’s introspective vocal tones are slightly at odds with the rich, smooth, orchestration on the unsettling You Found Your Flower, but the contrast works, and the backing vocals are lovely. And, by way of further contrast, the bright, sparkly instrumentation that opens Somewhere on the Island provides the perfect foil for John’s lyrics, that centre around the baking of a ‘miracle loaf.’ Once again, John’s vocal tones are both fascinating and disorientating and the listener can be excused for asking: “Would I trust this man?” A question that can only be answered by a resounding, “No.”

DIE WITH COMPASSION, DIE DIGNIFIED…

The charming Edenborough is just as engaging as its opening lines: “Dead little bird, lie on my wheelbarrow, dead little bird in the hood of my raincoat,” suggest it will be. A soft, pattering, drumbeat sets the slightly sinister atmosphere and the rest of the instruments – and the backing choir – follow suit. And, after all that sinisterity, listeners will be surprised – and rather charmed – by the melodic, folky, pop of Try to Be Like Robin Hood. The song’s lyrics are simple, predictable and comforting, and the music – led by the sweet strings – is as soothing as a lullaby.

John returns to the memories of his father’s assisted death for the album’s stunning final track, Let People Die. Despite the title, this is a wonderfully reassuring song, as lyrics like: “Why go on living when there’s no life,” “Die with compassion, die dignified” and ”There is no end, only beginnings” amply demonstrate. John’s unique vocal style is thoroughly suited to the tone and subject matter of this song; it’s a tremendous, respectful and well-considered way to close a singular album.

The Red Castle was conceived as a validation of otherworldly chance meetings, of grief’s inexplicability. As John says: “If I’ve been able to bridge pop song and prayer, even just a little, then I’ll feel like I’ve achieved something out of this.”

Listen to Town of the Castle – the album’s lead single – below: