Blending spoken word poetry and hip-hop with in such an original style, Sage Francis is almost one of a kind. In a genre where this can be all too scarce, he may not necessarily get the recognition he deserves. Copper Gone gives an insight into the anger he has for having to play the role of underdog, while also giving the impression that he may be content where he is. ‘Pressure Cooker’ serves as his introduction back after a four year hiatus from touring that he spent writing, recording and “getting his life together”. It is as an example of the more aggressive side of the album that he uses to vent his frustrations at the music industry where the “forefathers of stability have ridiculously fallen off”.
The loud, crashing drums and heavy, distorted bass lines are in contrast to the mellow drum patterns and strings on songs such as ‘Thank You’, on which he delves into the problems he’s had in his personal life. He opens up about his relationship with his father in such a way that a vivid picture is created of how their relationship was and why he feels bad about. It is done which a lyrical versatility that Eminem could have only dreamed to achieve with Headlights, also an apology to his mother.
There are some ill fitting hooks on the album (‘Say Uncle’), but it is hard to falter when every verse showcases his undeniable talent for crafting intricate rhyming schemes and delivering them with ease. Although he is a prolific underground artist, Copper Gone may not get as much appreciation or airplay as it deserves but what it certainly makes it known that Sage Francis is the biggest fish in the small pond.