Don Glori Unveils ‘Brown Eyes’ and ‘Power’: A Dynamic Prelude to Paper Can’t Wrap Fire

Melbourne/Naarm multi-instrumentalist Don Glori sets the stage for his forthcoming third album, Paper Can’t Wrap Fire, with a stunning double A-side release: Brown Eyes and Power. These two tracks capture the depth and diversity of his latest work, blending jazz, soul, and global influences into an evocative sonic experience.

Brown Eyes: A Soulful Anthem of Belonging

On the surface, Brown Eyes carries the warmth of a love song, its smooth jazz-soul groove effortlessly inviting. But beneath its sultry vocals and uplifting energy lies a deeper narrative—one of identity, community, and resilience.

Don Glori describes the song as a reflection on feeling like an outsider in a predominantly white society. The first verse expresses the struggle of being tokenized, while the second celebrates the joy of finding a community that shares your history and experiences.

“The second verse and hook are about finding people who have a shared history with you and feeling at ease around them. When you meet another person like that, and you don’t have to explain all the above, it’s a comforting feeling.”

As Don puts it:

The track flows between moments of sweeping tenderness and bass-driven grooves, enriched by crisp swung drums, masterful keys, and honeyed vocals from ML Hall, backed by lush harmonies from Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. It’s a celebration of finding solace in shared experiences—wrapped in a funk-infused, jazz-kissed soundscape.

Power: A Two-Part Musical Manifesto

In stark contrast, Power was born out of frustration—specifically, Don Glori’s exhaustion with bad promoters and exploitative industry figures. The song is a mantra of self-protection: a reminder to preserve one’s energy and pursue creative freedom.

Musically, Power unfolds in two distinct sections. The first takes cues from Kendrick Lamar’s To Pimp a Butterfly, blending spiritual choral elements with ghostly horns and jazz breaks. But just as the track establishes its ethereal mood, it shifts unexpectedly—the choir’s solemn gravity gives way to a cheeky, satirical hook from the perspective of a cynical promoter:

“Take your fee, take your seat, come on man keep it up,
Take your fee, take your seat, come on man just shut up.”

From there, the song explodes into a vibrant percussive finale, tipping its hat to Brazilian jazz pioneers Azymuth and their 1977 classic Tamborim, Cuíca, Ganzá, Berimbau. The dynamic rhythm section—featuring Alcides Neto, Robyn Cummins, and Al Kennedy—delivers a dazzling fusion of pandeiro, congas, and drums, while Joel Trigg’s swelling Rhodes solo brings the track to a triumphant close.

A Taste of What’s to Come

With Brown Eyes available now (26 February 2025) and Power following on 26 March 2025, Don Glori offers a compelling glimpse into Paper Can’t Wrap Fire. These tracks not only showcase his musical breadth but also reinforce his ability to weave profound themes into captivating compositions. Whether through the soul-stirring warmth of Brown Eyes or the genre-hopping energy of Power, Don Glori continues to push boundaries, setting the stage for what promises to be an exceptional album.