Emerging indie-folk artist Corey Kilgannon is no stranger to vulnerability and honesty in music…. Quite the opposite in fact. Kilgannon has become known for his ability to sing about difficult topics and analyze the depths of human emotion. His newest single is no exception.
“As Above, So Below” was released on August 2nd as the final single before the pending release of his album by the same name due later this month. If “As Above, So Below” is any indication of what is to come, the highly anticipated album is sure to be his most politically charged release yet. In “As Above, So Below” Kilgannon remarks on the tragedy of unnecessarily taking a human life: “My black friend got shot for running a stop sign, when he reached for his insurance the cop killed him outright. This clown we elected couldn’t call it a crime, should make every decent man cry.” His lyrics are striking, and call out harsh underlying truths such as, “You don’t need salvation if you’ve got enough money”. Overall, “As Above, So Below” aims to remind listeners that “you don’t have to think everything that you’re told”. This single showcases the brutally honest, raw, and emotionally evocative lyrics that Kilgannon is known for, and that we hope is a taste of what is to come with the new album.
in the outskirts of NYC and spending his formative years in Jacksonville Beach,
FL, Corey Kilgannon, a 25-year-old emerging indie/folk artist, brings
revelations from his examined past, thoughts of the present, and hopes for the
future through a voice that ebbs and flows from sweet sensitivity to raw,
emotional pleading. Never shying away from difficult topics of discussion, he
has silenced and captivated audiences whether they’re listening from The Showbox
in Seattle or from a folding chair at an intimate house show. He has shared
stages with Jon Foreman, John Paul White, Joseph, Penny & Sparrow, David
Ramirez, and Johnnyswim. He brings with him a communal, lonely closeness each
and every time he performs. You could call Kilgannon a present-day protest
singer, but that might rush to conclusions of an accusatory blame-game style,
and would fail to elevate his more unifying call-to-action and
call-to-attention approach to his stark honesty. Kilgannon chooses discomfort
over accessibility, and self-awareness over self-indulgence. He creates a
seemingly paradoxical space of thought-provoking escapism with his music.
Throughout all of his discography, Kilgannon reveals to his listeners the at
times lonely but crucial nature of belonging to oneself.