Ever since I discovered his video for “I Know Something” back in 2021, I have been keeping an eye on (and ear) on De’Wayne. I could tell then that he was going to an artist to watch, and with his new album June, he’s finally arrived. De’Wayne has truly taken his songwriting to the next level here, channeling his retro funk and R&B influences through a Warped Tour filter for a sound that is bound to convert loads of new fans.
From the very start of the album, De’Wayne is demanding your attention, creating a bluesy rock stomp in “Lady Lady”. The rawness of the sound paired with the sultry lyrics gave off strong Lenny Kravitz vibes (who De’Wayne has recently collaborated with, in a yet-to-be announced project). But as De’Wayne sings “Tell the whole congregation your philosophy”, the bombast of the track also bares the marks of bands like KISS, who conquered stadiums with similar clap-along choruses.
The great thing about De’Wayne is that he synthesizes all of these influences into his sound organically. On album highlight “June”, the track rhythmically leans towards a catchy, pop-driven funk, as descriptive lyrics (“We roll up into the 711 like we were dropped from heaven and ripped a couple mini shots”) paint a picture of the world De’Wayne is creating for us. The song then bursts into club-punk chorus that is irresistible. De’Wayne drops another banger with “Highway Robbery”, which blitzes listeners with 80’s guitars and snapping, thumping drums that build into a gospel rock chorus.
A clear influence throughout the record is the late legend Prince. You can hear him clearly on the R&B-drenched funk pop of “I’ll Be There” and his strut-ready “Take a Picture”, where De’Wayne dons a falsetto for a narrative about being wrapped around the finger of a woman (“I want ya, I want ya. She says “duh”.”
Other 70’s stars peak in as well. The I Don’t Know How But They Found Me-assisted “Forever” has the angular dance rock guitars and production of “Fame”-era David Bowie, while “Prize Fight” mixes Sly Stone verses with post-punk choruses. Never do these influences feel out of place. More the opposite – this album feels wholly personal to De’Wayne, both sonically and thematically. On the soulful “What Does He Really Know”, De’Wayne seems to singing a mantra to himself about his journey in music (“Don’t forget who you are. Don’t fall down the boulevard a million miles away”).
The most personal song on the album is “Sunday”, one of the best odes to a father/son relationship since Yellowcard‘s “Life of a Salesman.” De’Wayne pays moving tribute to the day of the week in which he was able to spend time with his late father, a day where he felt like his father truly “saw” him, and got to learn who is son was. The track really strikes an emotional chord on the bridge, when De’Wayne reconciles the reality of who is father was (“My old man was no saint. My old man drove Cadillacs like a tank”) with the hero he clearly admired. There’s a ton of heart here, making the track another winner.
There’s so much to love about June, that I feel like dissecting every song would do the album a disservice. It’s an album that should break open doors for the artist. It’s a collection that deserves to be discovered. De’Wayne has what it takes to become someone’s new favorite artist.
The album is out today on Fearless Records. Stream it here.
The Indy Review 
2 Comments