Most people don't plead in the form of a dare. That blend of vulnerability and brash confidence is part of what makes Cauthen and his music––which often hinges on the same paradox––so compelling. Whether it was by heavenly intervention or sheer force of will, Cauthen emerged with My Gospel (Lightning Rod Records), his mesmerizing full-length solo debut. Produced by Beau Bedford, the record is both an artistic and personal triumph. My Gospel captures a young artist in full possession of a raw virtuosity that must sometimes feel like a burden: If your singing takes listeners on white-knuckle rides and you write like a hard-luck Transcendentalist poet who abandoned the East Coast for the desert, you’d better do both. Anything else just wouldn’t feel like living. “I don’t know what else I’m supposed to do in life,” Cauthen says. “So I just kept on working. Even when I didn’t hardly have money to eat, my songs allowed me to get into the studios. I wrote my way into this thing.”
Cauthen delivers the songs on My Gospel with the tortured showmanship of Jerry Lee Lewis and seductive ease of Elvis. The idea of a life-affirming power found in the connectedness of people courses throughout the record. The album kicks off with “Still Drivin’,” which calls up the swampy finger-picking of Jerry Reed as it proclaims survival. “It’s my don’t-give-up anthem,” Cauthen says. “Keep on truckin’.” As he thunders, “Still drivin’ / when’s this break gonna come?” the word “break” points to both a career breakthrough and the universal need for rest. “I love to leave the plots of songs open-ended,” he says, enjoying the different possibilities for interpretation the track allows.