Blame

"Blame" is a profound exploration of the psychology behind addiction, indulgence, and the deflection of responsibility. Lead singer Jacob Lusk has explicitly stated that the song examines how people hastily assign blame to external factors when facing life's problems, rather than confronting the internal mechanisms of fault and shame. The lyrics paint a portrait of a protagonist who is trapped in a destructive cycle but rationalizes it as a choice, thereby maintaining a fragile sense of agency.

The central theme is the illusion of control. The lines "Not a slave if I'm already free / Not a captive if it's where I want to be" serve as a powerful mantra of denial. The narrator convinces himself that his entrapment (whether to a substance, a lifestyle, or a relationship) is voluntary, transforming his shackles into a chosen path. This reframing allows him to avoid the label of a 'victim' or 'addict,' even as his life spirals.

Implicitly, the song addresses the isolation inherent in this lifestyle. While the narrator is surrounded by a "crowd" and "flashing lights," his central question—"Who's gonna catch me when I fall down?"—reveals a deep-seated fear of abandonment. It suggests that while the highs of his indulgence are shared with others, the inevitable low ("the fall") will be a solitary experience. The song ends without a resolution, leaving the listener in the tension between the narrator's defiant claims of freedom and the reality of his crumbling world.

The song opens with a reflection on the relentless and blurring passage of time, where mornings fade into nights and nights cycle back into days. The narrator feels unable to keep pace with this flow, admitting to a pattern of constant loss while clinging to a hope for a singular 'win' that might alter his mindset. He defies external judgment with a paradoxical declaration of freedom, asserting that he cannot be considered a slave or a captive if he is in this situation by his own choice.

As the song progresses, the narrator describes strolling through metaphorical halls filled with 'rolling dice' and 'waterfalls,' imagery that suggests a chaotic mix of chance, risk, and overwhelming emotion. Despite observing 'troubled fortunes' and 'lives in shambles' hidden beneath the allure of flashing lights, he can't help but smile, indicating a detachment or a resigned acceptance of this destructive environment. He doubles down on his stance, claiming that what he has said and done doesn't matter to him, reaffirming his illusion of voluntary imprisonment.

The recurring chorus poses a desperate, unanswered question to the 'crowd' that surrounds him: who will be there to catch him when he inevitably falls? In the bridge, the facade begins to crack as he reflects on the battles he has both won and lost, ultimately confessing that he can no longer count the heavy costs he has incurred. The song concludes with a repetition of his claim to freedom, which now rings with a haunting sense of denial amidst his admission of profound loss.

Gabriels formed in Los Angeles in 2016, bringing together three distinct talents: Jacob Lusk, a gospel-trained vocalist and former American Idol contestant; Ryan Hope, a British film director; and Ari Balouzian, a classically trained musician and composer. The trio met when Hope and Balouzian were working on a commercial and sought a choir, eventually connecting with Lusk. Their chemistry led them to continue collaborating, blending their diverse backgrounds in film, classical music, and gospel.

"Blame" was released in September 2021 as a single and later appeared on their second EP, Bloodline (released in November 2021). The song was written by the three members—Lusk, Hope, and Balouzian. It was born out of their unique collaborative process, which often involves Balouzian creating cinematic string arrangements and Hope contributing production elements, providing a lush backdrop for Lusk's improvisational and emotive vocal melodies.

Jacob Lusk has described the song's inspiration as a look into the "world of addiction and indulgence." The group aimed to capture a timeless, vintage sound that didn't feel like a pastiche, but rather a genuine continuation of soul and gospel traditions. The track's production was designed to feel "live" and intimate, utilizing loop-based piano and orchestral swells to evoke the feeling of a smoky, late-night jazz club.

The song employs a mix of simple end rhymes and near rhymes that give it a conversational yet poetic flow. In the verses, the rhyme scheme is somewhat loose (e.g., "day"/"way"/"time"/"mind"), contributing to the feeling of a stream-of-consciousness confession. The pre-chorus features a tight AABB rhyme scheme ("free"/"be"), which reinforces the rigid logic the narrator uses to defend his choices.

Rhythmically, the track is set in a slow, 4/4 time signature with a laid-back, almost dragging feel. This tempo creates a sense of lethargy or "heaviness," mirroring the burden of the narrator's struggles. The vocal rhythm is highly syncopated and flexible; Lusk often sings behind the beat, a technique common in jazz and soul that adds to the song's relaxed, "strolling" atmosphere. The contrast between the steady, repetitive piano loop and the free-flowing vocal melody highlights the tension between the relentless cycle of time and the human desire to break free from it.

Musical Techniques:

• Cinematic Production: The song utilizes a loop-based piano motif that creates a hypnotic, circular foundation, mirroring the lyrical theme of repetitive cycles. The addition of swelling orchestral strings adds a dramatic, film-score quality, elevating the song from a standard R&B track to a grand emotional statement.
• Gospel Vocal Delivery: Jacob Lusk's performance is deeply rooted in black gospel tradition. He uses dynamic variance, moving from a restrained, almost spoken whisper in the verses to a powerful, vibrato-rich belt in the chorus. His vocal improvisations and runs express anguish and soulfulness that the lyrics alone cannot convey.
• Minimalist Percussion: The percussion is sparse, often relying on a simple kick or snap, which allows the vocals and strings to dominate the mix and creates a sense of intimacy and space.

Literary Techniques:

• Paradox: The lines "Not a slave if I'm already free / Not a captive if it's where I want to be" employ paradox to illustrate the narrator's self-deception.
• Rhetorical Question: The central hook, "Who's gonna catch me when I fall down?", is a rhetorical question that underscores the narrator's loneliness and lack of safety net.
• Juxtaposition: The lyrics contrast "flashing lights" with "lives in shambles," juxtaposing the external glamour with internal decay.

"Blame" has played a significant role in establishing Gabriels as a critical darling in the modern soul revival. The song helped cement their reputation for creating "cinematic soul," leading to high-profile acclaim from industry legends like Elton John, who championed their work. The track's timeless, noir-ish quality has made it a favorite for film and television supervisors.

Most notably, the song was featured in the premiere episode of the 2024 television series The Day of the Jackal, which introduced it to a massive new global audience and sparked a resurgence in streams and searches. It also appeared in the series Loot. The song's inclusion on their EP Bloodline and subsequent live performances, including a celebrated set at Glastonbury 2022, demonstrated the band's ability to translate their studio precision into a powerful live experience, further solidifying their status as one of the most exciting new acts in the genre.

The lyrics of "Blame" are rich with imagery that contrasts the glamour of indulgence with its darker consequences:

• "Mornings turn to night": This cyclical imagery represents the loss of time common in addiction or depressive states. The blurring of days signifies a lack of structure and the protagonist's inability to "keep up" with reality.
• "Rolling dice": A metaphor for risk and gambling. It suggests that the narrator views his life as a game of chance where the outcome is uncertain, reinforcing the theme of living dangerously.
• "Waterfalls": This image can symbolize overwhelming emotional force or a point of no return. Just as water rushing over a fall cannot be stopped, the narrator feels swept away by his circumstances.
• "Flashing lights": Represents the superficial allure of the nightlife or fame. It distracts from the "troubled fortunes" and "lives in shambles" that lie underneath, highlighting the disparity between appearance and reality.
• "The Crowd": Symbolizes superficial companionship. The crowd is present for the spectacle ("calls"), but their reliability is questioned when the narrator asks who will catch him, highlighting the difference between an audience and a support system.

"Not a slave if I'm already free / Not a captive if it's where I want to be"

This pre-chorus is the song's primary lyrical motif. Its repetition serves as a mantra of rationalization. By repeating it, the narrator attempts to convince himself and the listener of his autonomy. As the song progresses and the emotional stakes rise, this phrase takes on an increasingly tragic tone, sounding less like a declaration of independence and more like a desperate defense mechanism.

"Who's gonna catch me when I fall down?"

This recurring question in the chorus acts as the emotional anchor of the song. It punctures the bravado of the pre-chorus, revealing the vulnerability and fear underlying the narrator's lifestyle. The repetition of this question without an answer emphasizes the uncertainty and isolation of his future.

"Ooh-la-la-la-la-la"

The melodic vocal chant in the chorus serves as a musical hook. It creates a haunting, almost lullaby-like quality that contrasts with the heavy subject matter, perhaps mimicking the intoxicating, trance-like state of the addiction or indulgence being described.