“Though We Have Only Love: The Songs of Jacques Brel” by Larry Beckett

A review of “Though We Have Only Love: The Songs of Jacques Brel” by Larry Beckett. This poetic and deeply faithful reinterpretation of Jacques Brel’s songs blends literary translation, restrained arrangements, and emotional authenticity.

A couple of years ago, I wrote a short biography of Jacques Brel, the Belgian singer, songwriter and actor whose voice, words and presence still feel unnervingly alive decades after his death in 1978. On 9 January 2026, an album is released that does not simply cover Brel, but genuinely engages with him.

The album is Though We Have Only Love: The Songs of Jacques Brel, created by Larry Beckett, the legendary American poet and lyricist best known for his collaborations with Tim Buckley, together with UK singer and guitarist Stuart Anthony.

I was given early access to the album, and I can say without hesitation: this is one of the most thoughtful, respectful, and convincing reinterpretations of Brel I have heard in a very long time.

Larry Beckett: From Tim Buckley to Jacques Brel

Larry Beckett occupies a very particular place in American music history. As Tim Buckley’s principal lyricist in the 1960s, he helped create songs that are now considered classics, including Song to the Siren, Morning Glory and No Man Can Find the War. His background is first and foremost literary; he is a poet who works through music rather than a performer who decorates it. That distinction matters enormously when approaching Jacques Brel.

Produced by The Orchard / Sony, the album reimagines 14 chansons from Brel’s 1950s and 1960s repertoire, translating them into a contemporary, restrained alt-rock setting while preserving their original melodic and harmonic structures.

The result is not nostalgic, but feels alive and contemporary; alert to Brel’s emotional urgency while speaking in a modern musical language.

A collaborative, intimate Sound

Beckett appears on vocals, spoken word and piano, joined by Stuart Anthony on vocals and guitar. The supporting musicians are Mike Hodgkins (drums), Matt Canty (bass), and James Edge (piano, keys, flute).

This is not a lush, orchestral Brel. The arrangements are sparse and intimate. Piano often functions as the rhythmic foundation, played in a percussive way that mirrors a heartbeat or ticking clock (a recurring device in Brel’s own compositions). There is a conscious absence of glossy production, modern synths or heavy percussion.

Translating more than language

One of Beckett’s central motivations for the project was dissatisfaction with existing English translations of Brel’s songs.

“Up to now, Brel’s songs have not been faithfully translated. I wanted to capture both the poetry and the passion of his work while staying aligned with the original French.” Larry Beckett

This is an important point. Many English-language versions of Brel soften him, romanticise him, or smooth out his rough edges. Beckett does the opposite. His translations prioritise emotional accuracy, not prettiness. They function almost like an additional instrument. This makes them integral to the composition itself.

Love in all its forms

Across the album, the many dimensions of love that Brel explored are fully present:

• Absolute, unconditional love (I Love You: above)
• Lost love (Juliet)
• Unrequited love (Madeleine)
• Fleeting love (The Next Lover)
• Enduring love (Song of the Old Lovers: below)

The album also looks beyond the personal. The Lowlands becomes a quiet, moving ode to homeland, while The Dove offers a stark reflection on war – themes that feel no less relevant today than when Brel first wrote them.

Brel, Parlando, and the spoken voice

One of Brel’s defining techniques was parlando. This is a speech-like style of singing that blurs the line between talking and melody. The goal is clarity, rhythm and emotional force rather than vocal polish.

If you are familiar with Leonard Cohen, you already understand this approach. A great example or parlando is Cohen’s I’m Your Man. More contemporary examples include bands like Black Country, New Road or the spoken-word delivery of Florence Shaw from Dry Cleaning.

Beckett and Anthony understand parlando instinctively. Much of the album lives in that space between speech and song, and it is precisely there that Brel’s spirit feels closest.

The “Brelian” crescendo

Another essential element of Brel’s style is what is sometimes called the “Brelian crescendo.” Songs often begin quietly, almost conversationally, and gradually build both emotionally and vocally until they verge on shouting. Classic examples of the Brelian crescendo are Amsterdam and La valse à mille temps.

Beckett and Anthony captures this arc with remarkable discipline. They consistently emphasize the weight of the word over the purity of pitch. A line may start as a whisper and end in something close to a cry. Exactly as Brel intended.

Both their voices have dry, weathered authority. They sound like someone looking back on a life fully lived. Crucially, the album avoids the melodrama that crept into some popular English-language Brel interpretations such as Scott Walker’s versions, which, for all their power, drift far from Brel’s original vocal character.

Larry Beckett matches language to music

One of the album’s quiet technical triumphs lies in its handling of rhythm. French is a syllabic language (every syllable gets a similar amount of time and emphasis, creating a flowing, even beat). English is stress-based (stressed syllables occur at roughly regular intervals, and unstressed syllables are shortened to fit in, creating a varied rhythm). Translating Brel while preserving his musical momentum is extraordinarily difficult. Beckett manages to match English syllables closely to the original phrasing, maintaining the internal rhymes and rhythmic drive that give Brel’s songs their sense of motion and their almost galloping urgency. This must have been painstaking work, but it shows in the results.

A text-driven album

In the end, Though We Have Only Love is not just a musical showcase, but more a text-driven recording, where every technical choice, whether minimalist arrangements, dry acoustic textures, or restrained performances, exists to emphasize the poetry. The intent of Jacques Brel is, I believe, clearly seen through Larry Beckett’s literary lens.

If you already love Jacques Brel, this album will reward careful listening. And if you are discovering him for the first time, it may be one of the most honest and compelling places to begin.

Though We Have Only Love: The Songs of Jacques Brel is available from January 9, 2026 from wherever you get your music.

Denzil Walton

I created Discovering Belgium in 2011 to share the country’s hidden stories, fascinating places, and remarkable people. Through articles, photography, and audio walks, I share discoveries that reveal Belgium beyond the obvious. Hope you enjoy this site.