A Review of Jensyn’s ‘Throw’ - the Sound of Holding a Family Together When Everything Wants to Fall Apart
- Jun 3
- 2 min read
A particular kind of song that could only have been written by someone who has spent years learning how to carry things quietly. ‘Throw’, the second single from Liverpool-based queer non-binary artist Jensyn, is exactly that kind of song.
Written in the aftermath of their grandfather’s death, ‘Throw’ navigates a terrain that most songwriters would shy away from: not grief itself, but the way grief fractures the people around it. Jensyn found themselves, as they have so often throughout their life, acting as mediator between their parents, absorbing the tension between two people processing loss in incompatible ways. That experience, unglamorous and exhausting and deeply human, is the engine of this track.
What makes ‘Throw’ remarkable is how precisely its architecture mirrors its subject. The track opens with the kind of intimate restraint that has come to define Jensyn’s sound: close vocals, gritty guitar, atmospheric production that feels held in check. Then, gradually and with real intention, it builds. The final section is cathartic and explosive, a release that has been earned through patience rather than shortcut. Matthew Humphries’ drums, Niamh Mailer’s piano, and Jack O’Hanlon’s guitar each play their part without overcrowding the emotional space Jensyn has carved out.
“This song is really personal to me. It’s about my parents: their relationship and how it’s affected me throughout my life.” - Jensyn
It follows ‘Somebody Else’, released earlier this month, which drew on the unresolved complexity of romantic loss with the same unflinching clarity. Taken together, the two tracks begin to outline the shape of something larger: a body of work committed to writing honestly about the relationships that form and fracture us, without tidying the edges.
Writing and producing since the age of 14, and shaped by Liverpool’s close creative community, Jensyn brings a maturity to their craft that belies the rawness of the material. The influence of Joni Mitchell is audible not in any surface stylistic sense, but in the commitment to using personal truth as the only real compositional tool worth reaching for.
The trilogy closes with ‘Trust’ on 15 June. If ‘Throw’ is anything to go by, it will be worth the wait.
PHOTOS BY SARA WOLFF
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