What strikes you first about Eyal Erlich is that he doesn’t play the game. No studio gloss, no heavy-handed irony, no grandstanding about his influences. Just songs—four of them here—that wear their humanity like an unpressed shirt: rumpled, imperfect, and all the more compelling for it.
Take “All in All.” The bones of this one feel familiar, like a dozen singer-songwriter ballads you’ve heard before. But listen closely. There’s a humility that separates it from the pack. Erlich isn’t aiming to be profound. He’s aiming to be understood. And in that modesty lies the profundity. It’s not a song about spectacle—it’s a song about recognition, the kind that makes you nod quietly in the middle of your day because someone finally put the thought in your head into words.
“Jenny” takes a sharper turn, closer to the territory of the confessional storytellers. It’s about a person, sure, but it’s also about the echo they leave behind. The trick here is Erlich’s restraint—he doesn’t paint Jenny in detail, doesn’t give us the full backstory. Instead, he offers just enough for the listener to graft their own ghosts onto the frame. Dylan used to do that. So did Springsteen, back before he discovered stadiums. Erlich is walking that same path, quietly.
The burst of light comes with “Already In.” It’s less about memory and more about immediacy—about giving yourself over to the moment rather than circling it like prey. There’s something liberating in the phrasing, the kind of optimism that doesn’t come from naiveté but from hard-won acceptance. It’s Erlich at his most playful, but also his most assured.
“I Wish I Knew” is where the set lands, and it lands heavy. It’s the oldest pop theme in the world—regret, the questions unanswered, the roads not taken. But again, what makes it work is the lack of melodrama. He doesn’t scream. He doesn’t plead. He just says it, with the kind of worn sincerity you can’t fake. That’s what makes it sting.
Erlich isn’t reinventing the wheel with these songs. He doesn’t need to. What he’s doing is simpler, and harder: writing songs that matter without pretending they’ll change the world. In 2025, that’s almost revolutionary.
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