Ten studio albums and one greatest hits package into her career, yet Madeleine Peyroux continues to break new ground. ‘Let’s Walk,’ co-produced by Peyroux, her long-time guitarist Jon Herington, and Elliot Scheiner, who also engineered the album, reflects the continued artist growth seldom seen by veterans in the music industry. Peyroux, who sparingly flexed her compositional muscles before co-wrote the ten songs with Herington. The result is a daringly diverse group of songs which, along with sympathetically spare arrangements, only enhance Peyroux’s extraordinary voice and artful song delivery. 

The opening track, “Find True Love,” tentatively opens the album with its vivid imagery of the bayou and gentle acoustic guitar work by Herington. The core band, consisting of Andy Ezrin on  piano, Hammond organ, Vox Continental, harmonium, Rhodes, Wurlitzer,

orchestral bells with bassist Paul Frazier and drummer Graham Hawthorne contribute expertly to the setting. 

“How I Wish” adds new imagery.

Dark and broading lyrics,

“Would my life be in vain If in strife – some small pain –

I gave up my right

To this greed and spite

Then, what might begin

Oh, my white American skin

No More

Endlessly journeying Yet to hear. “

Along with the tremolo effect of Herington’s electric guitar, a gentle shuffle by Hawthorne paints a vivid picture. 

Peyroux shakes things up with the title track, “Let’s Walk.” The gospel vocal intro features Catherine Russell, Cindy Mizelle, and Keith Flit, perfectly complement Peyroux’s delivery. The song is full of enthusiasm and spirit. It gets the listener ready for what is coming. Stabs of Hammond B-3 organs, Fender Rhodes, and Herington’s bluesy licks add to the march. 

When we arrive at “Please Come On Inside,” an unmistakable energy is on display. Touches of volume pedal swells, Fender Rhodes passages, and daring vocals passages by Peyroux punctuate the song. The unexpected talk box guitar leads and the solo only adds to the song’s mystery. 

Peyroux and company do not take their foot off the pedal for the remaining six songs on the album, except the Caribbean-flavored song “Me and the Mosquito.” “Blues for Heaven” is a delightful vamp where Herington’s acoustic guitar, Erin’s Hammond Organ, and Frazier’s bass provide a laid-back bluesy foundation for yet another dynamic vocal from Peyroux. The producers sprinkled the backing vocals to add a delicate contrast, further advancing the song. “Et Puis” takes us to Paris with its French lyrics and Peyroux’s delicate acoustic guitar. The song finds Herington providing bass guitar in addition to the band’s gentle brushwork and Fender Rhodes. The title translates to “And Then,” whether you read the translated lyric sheet or rely on your interpretation of the words, the song will transport you to another place. 

“Nothing Person” seems personal, and its brooding music matches its compelling lyrics. Clarinetist Stan Harrison makes a guest appearance on the song. 

“You should take it on, take it on

You can’t take it back, so follow through

Pick up your big boy balls and

Abuse yourself… Amuse yourself”

“Showman Dan” follows the song “Nothing Personal,” and things are looking up. The vampy shuffle rings Peyroux, delivering an inspiring message to a fictional colleague. Erzin’s piano rises to the challenge of Peyroux, and Herington provides a bluesy solo, which leaves another lasting impression.  Upon reaching the quirky “Take Care,” you realize you’ve reached the end of an album that ranks among Peyroux’s very best. That’s high praise for such a stellar artist.