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“Let us advance our mortal bodies up Where hearts and minds will go Let’s walk, let’s roll.” So sings Madeleine Peyroux on the upbeat title track of her captivating ninth album, Let’s Walk, the acclaimed singer-songwriter’s most assured, courageous work to date. Powered by the distinctive, honeyed croon that delivered her from the Paris streets to concert halls, these ten unabashedly personal songs, all co-written by the versatile Peyroux, deftly interweave jazz, folk, and chamber pop, with themes ranging from the confessional to the political, from whimsy to yearning. In every note, Peyroux digs deep, rendering this exquisite work with the disarming grace and gravitas of an artist in peak form. For the ardently civic-minded Peyroux, Let’s Walk continues the scintillating conversation with her audience – and with the world at large. “This music is part of a dialogue,” she says. “That’s what art is. It’s engagement, community. I believe more than anything in getting together with people and listening to music and conversing. Music is the only way I’ve ever built community.” Let’s Walk was a long time coming, but well worth the wait. Following Peyroux’s 2018 album, Anthem, the enforced isolation of the global pandemic made any real-time community gathering impossible. From a creative standpoint, however, Covid offered Peyroux a silver lining: she seized the opportunity to hunker down with longtime collaborator, multi-instrumentalist Jon Herington (Steely Dan, Lucy Kaplansky). The pair reflected on the seismic era at hand and wrote and re-wrote in what Peyroux calls “a shadow of reckoning.” When multi-Emmy-and-Grammy-winning producer Elliott Scheiner (Fleetwood Mac, The Eagles) heard a sampling of the new material, he mandated “no covers” for the album. The longtime studio veteran knew the time was ripe to highlight Peyroux’s incisive, often topical lyrics meshed with Herington’s ear for melody and arrangements.