B-Side Guys

In a bar somewhere between Denver and Portland, a conversation unfolds that’s as old as heartbreak itself. Aaron Francis’s “Skylark” captures this timeless scene with the kind of lived-in authenticity that comes from decades of playing both sides of the bar – performer and patron, storyteller and witness.

Drawing from his extensive musical journey through bands like Terminal Hinge and Blue Light Soul, Francis brings a jazz sensibility to what might otherwise be standard Americana fare. At 3:36, the track takes its time, letting the story breathe like a good whiskey opening up in the glass.

The lyrics paint a portrait of masculine vulnerability that feels both classic and contemporary. “Hey man, the money is on the table and at least that much is clear” sets the scene with economic precision, while “So maybe it won’t buy us hope, but it will buy us each a beer” delivers the kind of line that would make Guy Clark proud.

Francis’s history as a producer shows in the track’s careful construction. Each instrumental element serves the story, with subtle jazz inflections adding depth without distracting from the narrative. It’s the sonic equivalent of knowing exactly when to offer advice and when to just pour another round.

The chorus’s admission that “Lord I know she’s gone/And this time she’s gone to stay” carries the weight of experience, both personal and observed. Having spent time recording everything from cassette demos to vintage Tascam sessions, Francis knows how to capture the grain in a voice, the moment when confession becomes catharsis.

What’s particularly striking is how “Skylark” addresses masculinity and vulnerability without falling into either machismo or maudlin territory. When Francis sings “The world is movin’ so Godamn fast/Seems like everyone, including us, is afraid of comin’ in last,” he captures something essential about modern male anxiety while maintaining the intimacy of a barstool conversation.

The production maintains a delicate balance between polish and authenticity, suggesting the influence of Francis’s time working with artists like The Minders while staying true to his own artistic vision. Each instrumental choice feels deliberate yet natural, like a well-worn leather jacket that’s earned every crease.

Having mastered his craft through various projects and collaborations since 1994, Francis brings a craftsman’s attention to detail to “Skylark” without losing the spontaneity of a late-night heart-to-heart. The jazz influences weave through the arrangement like cigarette smoke through neon, adding atmosphere without obscuring the view.

This single, part of Francis’s renewed focus on his solo career, suggests an artist who understands that sometimes the best way forward is to look back – not with nostalgia, but with the kind of clear-eyed wisdom that only comes from years of watching stories unfold from both sides of the microphone.