Only one track, “Scare Away the Dark,” is left without an acoustic rendition. The deluxe version of the album features 10 acoustic versions. In “Riding to New York,” Rosenberg recalls a scene where, “I asked where are you going to?/ He said, ‘I’m the wind, I’m just blowing through.’/ He lit up a cigarette and began to talk.” Rosenberg can turn a minuscule conversation into a wondrous narrative. The warmth of his words and comfort of the melodies resemble a midnight bonfire, a group of close-knit friends belting out in harmony or a grandfather sharing stories of better times. On songs like “Riding to New York,” “Bullets” and “ Scare Away the Dark” it is nearly impossible not to get wrapped up in the storytelling. Rosenberg’s storytelling is currently unmatched in mainstream music. Rosenberg sings of love being “the last unicorn.” Although it may be quite a stretch, it’s a promising sign - Passenger hasn’t lost his gentle soul or eloquent speech. The album begins with “Coins In A Fountain,” a song that explodes with metaphorical explanations of love and favors the catchy over the sappy. In contrast to the deep, soulful and often-sorrowful releases of the past, Whispers is more cheerful. The records share only two similarities: vocal reflection and the number of studio tracks. Whispers is a more upbeat collection of tunes than Lights. There may not be a hit to carry it to the top of the charts, but all 11 songs come together for a more fluid and well-crafted album than Rosenberg’s previous release, 2012’s All the Little Lights. Still riding the coattails of his breakout single, “ Let Her Go,” Michael David Rosenberg, the man behind Passenger, has stepped out of the song’s enormous shadow for his second album, Whispers. Unlike the title of his most recent release, the past two years have been nothing to whisper about for Passenger.
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