Banjo-playing actor Steve Martin and banjo-playing musician Alison Brown form a pairing that, through guesswork, we can assume will feature banjos. Safe Sensible and Sane is a refreshing break from the contemporary use of this folk instrument. Gone are the stomp and holler insinuations found with this historically rich tool. Martin and Brown work extremely hard to piece together a softly spoken but sincerely charming album which plays up the lighter times. They may suggest they are sane, but the lack of commas in their title errs on the side of deeply rooted mania. So too does their love for banjo. It’s an inspired piece of work from the pair, whose procession of special guests really adds a vibrancy to the album. Martin and Brown are not just capable musicians but a rare crop of creatives who have decades of experience backing their out-there choices. It makes Safe Sensible and Sane quite the treat.
Brown has proven herself more than a few times in the studio as one of the unsung instrumental heroes of bluegrass music, and Safe Sensible and Sane is another chance to show this. The scene is set well with opening song Friend of Mine, which is more an instrumental prelude than a song you can return to. Nice work all the same, a soft adaptation of those countrified and folk fundamentals. 5 Days Out, 2 Days Back is just that, too. Folk tales, on the road work where the joys of playing are the point of the song. It’s a sincerity lost in most releases, presumably because in the mix of overwhelming emotional structure and sharp new ideas has no place for these basics. But returning to what makes the genre such a charm to begin with is never a bad idea. Martin and Brown bring about no sweeping changes to banjo-led music, but they do have fun as they play through the classics of the genre. An early delight which sets the mood, maintained well enough by the songs to follow.
Both Martin and Brown have wonderful voices. Safe Sensible and Sane can rely on that but it’s up to the instrumental spirit to bring these songs up to a higher standard. Michael does just that, a tremendous play on lighter tones to be found in those slice-of-life classics. Aoife O’Donovan and Sara Jarosz make all the difference here with some sweet instrumental breaks and a few extra layers which give the song a stronger core. That lightness does not breed escapism though, and Safe Sensible and Sane may live the spirit of its three descriptors, but doing so hinders the album. Flourishing instrumental moments and sentimental, spirited performances come and go, with Martin and Brown never quite pushing ahead into a true risk or innovative moment. They don’t have to, it’s not their purpose here, but it’d have been nice to hear.
For those who enjoy the genre overlap Brown is capable of, Safe Sensible and Sane will be a treat. Martin takes a backseat to that, and it helps the album become a fully fleshed-out project, rather than a bit of music with a famous name attached to it. Light, breezy work which struggles to stand out. But it’s a nice time all the same. Little to reflect on, less to learn from beyond neat instrumentals and a bright, hopeful tone lingering throughout. Snippets of wisdom played with a style that wants its listeners to challenge the world. Never is it enough to overcome the tepid tone of Safe Sensible and Sane, an album which truly lives up to its title. Latter stage highlights like Girl, Have Money When You’re Old and Wall Guitar (Since You Said Goodbye) lose their bite because of that cheerful tone.
