From funk to folk, Jon Batiste redefines sound with Big Money

Jon Batiste, known for his bold performances and dazzling style, takes a surprisingly minimalistic turn with his new album Big Money. At just over 32 minutes, the nine-track release embraces stripped-down arrangements that let the music breathe, creating an intimate, laid-back listening experience.

Stripped-down and stirring: Jon Batiste’s Big Money

Rather than the flamboyance often associated with his live shows, Batiste leans into simplicity, mixing folk, funk, gospel and blues into a warm, organic sound. The result is a collection that feels both personal and profound, with lyrics exploring themes of devotion, values, spirituality and nature.

Batiste showcases his versatility by adding fiddle and mandolin to the mix, but the standout moments come from his solo piano work. The first highlight is a duet with fellow New Orleans-rooted pianist Randy Newman on a cover of Doc Pomus’ Lonely Avenue. Newman’s gravelly tenor contrasts comically with Batiste’s smooth delivery, creating a performance that’s as heartfelt as it is humorous. Another gem, Maybe, blends thick chords with contemplative lyrics, as Batiste wonders aloud about life’s larger questions: “Or maybe we should all just take a collective pause,” he muses before diving into an improvised piano passage that nods to Jelly Roll Morton.

Other tracks keep the energy bright and buoyant. Lean on My Love, a breezy collaboration with Andra Day, channels Prince and Sly Stone with a groove that begs to be replayed. The title track, Big Money, is an easy-going sing-along featuring the Womack Sisters, who bring soulful harmonies to lines like “money” rhyming with “dummy”.

Batiste’s gospel roots shine through on Do It All Again, a tender love song open to both secular and spiritual interpretation, and the closing track Angels, a reggae-inspired tune that radiates warmth and positivity. “When I’m happy, it’s your shine,” Batiste sings, summing up the album’s undercurrent of joy.

With Big Money, Batiste trades grandeur for grace, proving that sometimes the quietest notes leave the loudest impression.

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