Stan Walker has forged an impressive artistic path over the course of his career since winning Australian Idol in 2009. Numerous albums since have seen him continually develop a unique artistic voice, crafting songs that are informed by his personal history, religion, and cultural identity.

Walker continues this journey with the recent release of I Am, an anthemic song featuring a mixture of English and Te Reo Māori that is a proud testament to his unique musical voice.

Walker was approached by film director Ava DuVernay to compose a song for the end credits of her film, Origin, a dramatisation of Isabel Wilkerson’s non-fiction book Caste: The Origins of Our Discontents. Origin traces Wilkerson’s journey through Germany, India, and the US as she researches the caste systems in each country, in an attempt to better understand the drivers of prejudice and bigotry. I Am is Walker’s response.

In an interview with Variety magazine he states “…[the song] is about the reclamation, reconciliation and reconnection to our identity and the origins of who we are and where we come from. By knowing who we are, we are then able to know where we are going. This is how we unlock our greatest power. I Am is taking back the power and giving it back to the people.” (Tangcay, 2023).

Obviously, the book and film grapple with some extremely weighty issues, and when confronted with bigotry and prejudice it is all too easy to respond in hate or anger. However, I Am is not some kind of battle cry declaring war on the oppressors. It is instead reflective and optimistic, promoting self-connection both within the individual and within the community. Whether singing in English (pre-chorus, verse) or te reo (chorus, coda), the power of connection to self and of connection to others comes through repeatedly, not only in the lyrics but also the music. The spirit of connection is further reinforced by the bilingual vocals, for not only does it speak to Walker’s own cultural identity, it also reminds us that the significance of connection, to ourselves and to others, is universal.

Harmony

The song is in the key of D minor, and remains diatonic throughout. Harmonically, it is simple, with each section using four-bar phrases that are repeated as necessary. The verse progression, Dm – Bb – C – Dm, is straightforward but what is noteworthy is that it begins and ends on the tonic chord.

Whether a conscious decision or not, this small gesture is highly effective when considering the overarching themes of the song. As listeners we hear the tonic chord, or ‘one’ chord, as ‘home.’ It is the place of stability where everything feels solid and grounded. When harmony moves away from the tonic it suggests movement, or exploration. When we come back to the tonic, we are home.

The continued return home provides a stable foundation, grounded and assured. This not only works musically but also metaphorically given the theme of the song. The upward trajectory of the harmony, moving through the bVI and bVII before resolving on the tonic, helps give the song its upward, hopeful feeling (Fig. 1).

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The first change occurs at the chorus, which is again built on a four-bar phrase that begins and ends on the tonic (Fig. 2). The stable feeling of being grounded remains. While the song is in a minor key it features far more major chords than minor. With the exception of a brief passing Am in the chorus and short appearance of a Gm in the breakdown, the tonic is the only minor chord in the song. The minor tonality and frequent use of major chords helps give its reflective, optimistic quality.

Melody

The feeling of constantly returning home is reinforced in the vocal melody. Note how it ends on the tonic note at the end of each phrase (Fig. 1, 2). The melodic register also gradually moves up as we proceed through the verse, pre-chorus, and chorus, building the tension and excitement. The verbal space that exists in the verse, with clear pauses at the end of each line, is also removed during the chorus, replaced by a constantly moving vocal line that does not let up until the conclusion of the phrase, giving the chorus a strong sense of forward movement before coming to rest back home (Fig. 2).

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Texture

The arrangement makes a significant contribution to the impression of this track. Following sweeping strings in the intro, the verse is stripped down to Walker’s vocal and a thin organ. Percussive and decorative gestures then enter, gradually thickening the texture, alongside minimal backing vocals and an additional percussion loop in the pre-chorus.

This section of the song, prioritising Walker’s voice with minimal accompaniment, highlights the strength of the individual, the connection to self. In contrast, when we get to the chorus, it’s all about the strength of community. The texture is dense with choral vocals, the return of the strings, and a trap-influenced drum loop. The drum groove is complimented by acoustic drums playing triplet figures as gestures, highlighting the blend of electronic and organic, modern and traditional. The chorus immediately moves into the second verse without pause, and there is a stark contrast in texture as it again drops down to Walker’s voice with organ. This juxtaposition allows the texture of each section to reinforce the other, the strength of the individual is highlighted by the strength of the community.

Similar changes in texture occur leading up to the second chorus before the breakdown strips the texture bare, paving the way for the emotional peak of the song in the coda. Here the full complement of backing vocals returns, with a string arrangement reinforced by the rhythm section. Over the top of all of this is Walker’s vocal, proclaiming ‘Hou mai rā, tō rongo e, Tau mai rā, Tō karere, Mau tonu e’ (Resounding are your deeds, received is your message. It remains.) The song ends like it began, with an opaque texture and minimal accompaniment, highlighting the main vocal. (Fig. 3)

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The changes in texture throughout the song, building and releasing tension, are skilfully navigated to create an emotional journey. Yes this is a common technique in popular music arrangement, but it’s more impactful than that. It resonates with the journey of the individual, of the community, towards reclamation and reconnection.

I Am is a masterful work that promotes unity, both within the self and with others, and Walker has succeeded admirably in musically representing themes of reclamation and reconnection. It concludes with a chant that is common to us here in Aotearoa but no less fitting for the theme of the song. Haumi e, Hui e, Tāiki e (It is affirmed, bound together, in unity).

Jeff Wragg composes popular and classical music, and also composes for film, television, and theatre. He is also an educator and has held teaching positions at MAINZ, SIT and Victoria University. He can be contacted at www.jeffwragg.com