MICAH P. HINSON - The Tomorrow Man

There’s finally light in the sky for Micah P. Hinson. After twenty years of records marked by a past that never stopped knocking at the door, “Tomorrow Man” represents something more than just another step in his discography: it’s a genuine redefinition of identity. Hinson, raised in the shadow of a punitive religious upbringing and a life strewn with deprivation, betrayal and suffering, built his entire poetics on those very chasms. Albums like “Micah P. Hinson And The Gospel Of Progress” (2004) or the pitch-black “When I Shoot At You With Arrows, I Will Shoot To Destroy You” (2018) were carved into raw flesh, into that existential wound that seemed impossible to close.

With “Tomorrow Man”, though, something changes radically. The title already reveals the will to break free from his own emotional legacy: the idea that tomorrow is finally a livable place, no longer a threat. A pull toward rebirth that Hinson had timidly hinted at on the previous “I Lie To You” (2022), but which here takes over completely and becomes the defining trait of the whole record.

A renunciation of the past and a resulting inner liberation that also stems from the strong bond Micah now shares with his (Italian) band, made up of Alessandro "Asso" Stefana (guitars, piano, banjo, keyboards, bass) and Zeno De Rossi (drums, percussion), described at the recent Milan show as the family he chose for himself, unlike the one fate handed him.

Optimism already surfaces on the opening track, “Oh, Sleepyhead”, dedicated to his sleeping son. The orchestral arrangements – among the most beautiful ever to appear on one of his records – with strings and brass build a sonic world light years away from the austerity of his previous albums. The advice not to waste time on sad thoughts and to look only toward “afterwards” takes on the tone of a universal message, the concrete possibility of a life without wounds.

The album is scattered with striking melodies, which Micah composes (as always) with astonishing ease. His crooner-like voice, more central than ever, conveys a definitive break with what has been: a rebirth, perhaps even the abandonment of that stern God who has watched over him his whole life (“I Don’t Know God”).

“Hallow” is the record’s tensest moment, a nervous mantra driven by martial rhythms and layered guitars. Among the many vocal melodies, “Walls” stands out, an instant snapshot of contemporary America: ever-higher walls, now impossible to cross, a natural evolution of the themes already explored in “People” on “I Lie To You“.

With “Tomorrow Man”, Micah P. Hinson finally seems to find a space of quiet: not the denial of pain, but the conscious choice to move beyond it. It's the record of a man who, for the first time, truly decides to belong to tomorrow.

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27/11/2025