![]() ![]() If you would prefer contemporary and uplifting funeral music or beautiful, classical music for a funeral, choose your favourite from our list. If you’re not sure which songs to play at a funeral service, take a look at the suggestions below. I’ll Be Missing You – Puff Daddy & Faith Evans.Some of the most modern songs for funerals include: Here are a few modern funeral songs that you may want to consider. ![]() The funeral music should reflect the way they lived their life or a song that may have been special to them. Your loved one’s funeral song can be anything of your choice, it doesn’t necessarily have to be a popular or classic song. Some of the most popular classical music for funerals include: Many people opt for light classical music for funerals, whilst others may prefer a more dramatic piece which reflects the personality of their loved one. You’ll Never Walk Alone – Gerry and the PacemakersĬlassical music remains a popular choice for funerals, setting the stage for an emotional and moving service.Time to Say Goodbye – Sarah Brightman and Andrea Bocelli.Always Look on the Bright Side of Life – Eric Idle (Monty Python’s ‘Life of Brian’).Here are some of the most popular funeral songs: You may prefer uplifting and happy funeral songs, or maybe some classical funeral music.Īs funerals become more tailored to reflect the life of the person who has sadly passed away, families are opting for modern songs to be played at the service. When arranging a funeral, you have full control over what music you’d like to play. Things to consider when choosing funeral music.We have created a list of the most popular funeral songs to help you decide what music to play at a funeral from classical funeral music to modern day pop songs. Leon Bridges (Pavielle Garcia) This article is more than 1 year old.Choosing the right music and songs for your loved one’s funeral will personalise the service and truly pay tribute to their life in a lasting way. In the summer of 2015, you could tune into Top 40 radio and hear a sound straight out of the ‘50s: rich, twangy guitar, a slow Southern soul beat, and a voice that echoed Sam Cooke, Otis Redding or Willie Nelson. “Coming Home,” the opening track off of Leon Bridges’ 2015 debut album named after the song, was like glittering gold in a pan of red Texas dirt. The album was a love letter to that tradition of Texas soul - a period study in swimming across the Mississippi River to ask a special someone for another chance, backed up by a fuzzy, dusty big-band you’d nod your head to over a couple beers. “I’m coming home to your tender, sweet loving … you’re my one and only woman,” sang Bridges, a Texas native with a mind for heartache and a voice for making that pain and adoration felt in every bone and tendon. “Coming Home” shot up the charts that summer, flying past corporate muzak and tinny, derivative pop and into the nation’s consciousness. Leon Bridges (Pavielle Garcia)Īfter the success of that album, Bridges followed it up by leaping a couple decades ahead into the interwoven tapestry of ‘80s and ‘90s R&B. On his sophomore album, “Good Thing,” he leaned into the bass, synthesizers and drum machines that came to the forefront somewhere between Reagan and Clinton - Bill, not George.īridges showed what he’s capable of with a Grammy win in 2019. Now in the 2020s - as Black men and women are dying global, viral deaths in a time of anger and isolation - the question is not what he can do, but who he is. The resounding answer is “ Gold-Diggers Sound,” Leon Bridges’ third album, born out of a residency Bridges played at the Gold-Diggers hotel, studio and bar in East Hollywood. “And we had basically been digging and searching for the right sound over the course of two years, and we wanted to find a place that was aesthetically-inspiring, that we could just fully immerse ourselves in and cultivate this sound that was unique to me.” “It has somewhat of a kind of unassuming vibe from the exterior of it, somewhat of a refuge in the midst of this like gritty city,” Bridges says. If the first two albums were pruning and preening a gnarled tree of inspiration, “Gold-Diggers Sound” is exactly as Bridges puts it - cultivating a new garden that is wholly him. The opening track, “Born Again,” approaches the listener slowly, feeling out a new connection with the audience that isn’t predicated on an established genre. A slow chord progression on an electronic keyboard is bolstered by trembling strings, and finally Bridges’ voice: “Sit still, take it slow, soak it in.” The track features legendary pianist and producer Robert Glasper. ![]()
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