Feist “Multitudes” Album Review



  • Genre: Singer/Songwriter
  • Date: 14 Apr, 2023
  • Content: Not-explicit
  • Track(s): 12
  • ℗ 2022 Polydor (France)

Feist &Quot;Multitudes&Quot; Album Review, Yours Truly, Reviews, June 17, 2024

The sixth studio album by Canadian singer-songwriter Feist is titled “Multitudes.” On 14 Apr 2023, Polydor Records released it. The album is Feist’s first since Pleasure (2017). The album’s three singles, “Hiding Out in the Open,” “In Lightning,” and “Love Who We Are Meant To,” were all released at the same time. On 15 Mar 2023, a music video for the fourth song, “Borrow Trouble,” co-directed by Feist, Mary Rozzi, Colby Richardson, and Heather Goodchild, was also available.

After the adoption of Feist’s daughter in 2019 and her father’s passing, work on Multitudes started. She began recording the songs as she started her identical live residency in 2021 and 2022.

Several of the tracks on Leslie Feist’s sixth album may already be known to some of her fans. The Canadian singer-songwriter has been presenting concerts, also titled Multitudes, as residencies at theaters in Germany, Canada, and the US since the summer of 2021, in a departure from the customary album-then-tour model. They were created by Rob Sinclair, who previously worked on David Byrne’s excellent stage production American Utopia, and inspired by the pandemic’s forced shrinking of the world. Instead, they had Feist performing in the round in some small settings and figuring out some of the new material in real time.

Album Art

Feist &Quot;Multitudes&Quot; Album Review, Yours Truly, Reviews, June 17, 2024

The album cover for Multitude is distinctive in and of itself, including photos of Fiest in various blurred positions and angles with the title printed over the picture. While recognizing the totality of art present therein, this representation can allude to the album’s name. This could be Fiest’s method of letting the audience know to get ready to appreciate a variety of her music at once.

Tracks And Features

Out of the 12 songs on this album, only “Borrow Trouble” sounds substantial, with a wall of violins squalling over a powerful beginning. It’s an unusual detour into ecstasy.

With its irregular synthetic rhythm beats and muttered, layered voices, “In Lightning” also has a different energy. But, aside from that, it sounds like just you and her, with ballads like “Love Who We Are Meant To” and the lovely “The Redwing” being presented up close and softly, urging the listener to lean right in. And “Forever Before,” its sad followup, is an homage to her daughter, framing it by putting aside Feist’s forty years of indulgent childishness to care for someone else. This song is a love letter to let go.

Of course, there is more to every picture than just excellent or terrible, joy or sorrow. Numerous people prosper in this ambiguity. “Hiding Out in the Open” explores the baggage that any relationship gathers—a mountain of issues we can never completely eliminate. Feist sings, “Nothing’s gonna make us new / What’s done is not gonna undo,” letting the words dangle until they slur as if she is trying to escape her axiom.

And by paying close attention, the record develops into much more than just calming background music. As it comes to a close, “Song for a Sad Friend” adds an unexpected freeform keyboard melody and happy backup vocals. The voices on “Become the Earth” have an electronic stutter and shimmer effects, so they aren’t entirely human.


1 In Lightning 3:25
2 Forever Before 5:17
3 Love Who We Are Meant To 3:55
4 Hiding Out In The Open 3:21
5 The Redwing 3:18
6 I Took All Of My Rings Off 3:56
7 Of Womankind 3:52
8 Become The Earth 4:17
9 Borrow Trouble 4:05
10 Martyr Moves 3:25
11 Calling All The Gods 3:49
12 Song For Sad Friends 3:49

Album Summary

The musician exploits her expertise and advancing years on her best album. Perhaps it concerns the type of music that Feist is doing right now. She is several variations away from The Reminder’s pop-leaning pleasure centers. A discography that is as gratifying as it may be dense—or instead, so minimal and unassuming that it calls for some patience—has replaced the freedom provided by “1234” Feist has grown more at ease with using quiet into her intelligence and inquiring songs as she has matured as an artist and aged. Multitudes feel like a logical progression from the closeness she evoked on Pleasure, reaffirming what made that album so subtly and individually unique.


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