We’ve had the singles – now here comes the main event. Toronto singer-songwriter Abigail Lapell tracks the gestation and arrival of her longed-for first child over the nine tracks of new album, Shadow Child. Her best yet? It could be…
ON TENTERHOOKS
We’ve had the singles – now here’s the main event. We’ve been looking forward to Shadow Child, the new album from Toronto singer-songwriter Abigail Lapell, ever since its imminent arrival was announced, back in March, by lead single, Hazel. Back then, we described Hazel as: “…a winner; just about as mellow and ethereal as it’s possible to get.”
Since then, we’ve had two further tasters to whet our appetites for an album that, I can now say with absolute confidence, looks to be a shoo-in for our 2026 Albums of the Year list. Shadow Child, the album’s title track charmed our socks off in late March before, just a couple of weeks ago, we were captivated by single #3, How Long.
We’ve been on tenterhooks awaiting the arrival of Shadow Child.
FINDING SMALL MIRACLES
Shadow Child is an album about motherhood. It’s a collection of nine songs – one for each month of Abigail’s recent gestation. Her road to motherhood wasn’t an easy one. It involved several years of IVF and, in 2023, Abigail suffered a miscarriage – whilst on stage. The song cycle of Shadow Child covers joy and loss, using metaphors from maritime tragedy, reproductive health, acquiring language and lives altered by the arrival of a new child.
Shadow Child is launched with Whistle Song, the album’s final preview single – released just this week. Abigail’s lyrics describe “beating the odds and finding small miracles in the everyday” and they’re delivered to a tasteful guitar/piano backing. Abigail sings with a confident intensity and the vocal harmonies (all her own work…) are simply divine. Even the whistled passages that give the song its title aren’t at all incongruous!
We’ve already had the opportunity to rave over Hazel, the album’s lead single and I can now confirm that it’s a song that improves with every listen. Award-winning Canadian vocalist Jill Barber guests on the track and hers and Abigail’s voices combine beautifully. Scott White’s bass is smooth and rich and the mellowness index is almost off-scale. Abigail uses a nursery rhyme reference to assure baby Hazel that a sweet life lies ahead, and all seems well in THIS world, at least…
Photo: Jen Squires
HARMONIES: STUNNING & UPLIFTING
Be Good Tanya Frazey Ford is the guest vocalist for the album’s title track and the combination of voices is every bit as stunning. A twangy guitar intro serves notice on the song’s sweet country flavour, whilst Phillip Wojewoda’s theremin adds a delicious spacy effect. Abigail’s lyrics: “Oh, shadow child – when the work of this day is done, let me raise my voice in a joyful noise – in these days of the setting sun” – are directed at a being she describes as: “…a liminal person that doesn’t quite exist yet – onthologically blurry,” and it’s a magnificent song.
The guest vocalists keep on coming – and they’re all British Columbians. It’s Dana Sipos who provides the warming, uplifting, harmonies for Mockingbird, a gentle folk song. Abigail plays harmonica, which adds its own wistful impact and the song’s refrain: “Maybe I do, maybe I don’t. Say what you will, say what I won’t. Damned if you do, damned if you don’t. Maybe I will, maybe I won’t” is anthemic.
LITTLE CANNIBAL
There’s a vulnerable edge to Abilgail’s voice for Talking to Myself, a gentle, contemplative, ballad – and Peggy Lee adds an extra layer of richness with her resonant cello. But things take a more dramatic turn as Abigail looks forward to the moment when she’ll hold her child for the first time, in the outstanding Little Cannibal. The sharply-strummed guitars evoke a wild outdoor scene that’s somewhat at odds with the tender image of motherhood, as Abigail sings: “Hush now, little one – I’ll wrap you in the skin of an animal.”
How Long, the third of the album’s preview singles, is another anthemic affair. Abigail’s lyrics employ the metaphor of maritime tragedy to explore the quandaries of reproductive choice. And, her delivery of those lyrics, alongside guest Pharis Romero, is breathtaking. The tune is a pleasant country waltz and Abigail even manages to coax a pedal steel sound from her guitar.
Several of the Shadow Child tracks feature Abigail’s multi-part vocal harmonies, and they are, perhaps, showcased to best effect on Mother Tongue. They’re performed to a simple accompaniment of fingerpicked acoustic guitar and the effect is mellow, heartening and thoroughly delightful.
A LULLABY, A TOUR & A BIRTH
The gurgles of a newly-born child announce the arrival of Abigail’s long-awaited baby and she lulls the child to sleep with a wonderful version of Arthur Hamilton’s timeless Sing a Rainbow. Abigail is, as we well know, something of a lullaby specialist (check out her 2023 album, Lullabies) and her harmonized vocals here are show-stopping. It’s a lovely way to conclude a truly excellent album. Her best yet? It could very well be….
Abigail Lapell is currently touring North America and she’ll be arriving in Europe in November for shows in The Netherlands, Germany, France, the UK and Italy. Full details are here.
Oh – and I almost forgot to mention: Abigail’s son was born in November 2024. Now THERE’s a cause for celebration!
Abigail Lapell: Website