“Everything else, all the stories we tell ourselves about who we are supposed to be along the way, is blood under the bridge.”
This is the philosophy of SAVARRE’s Shannon Denise Evans, and it’s the burning core of her five-minute rock epic, “Blood Under The Bridge.” It’s a powerful, clarifying statement. This isn’t the passive, “water under the bridge” of bygones and forgotten histories. This is blood. It’s a permanent stain, a visceral, lived experience that you don’t just forget—you build from it. This is an act of personal revolution.
And it sounds like one. The track, co-produced by Evans with Alex Venguer and Dylan Glatthorn, materializes. It opens on a moody, cinematic stage set by Glatthorn’s piano and Marta Bagratuni’s haunting cello. This is the story we tell ourselves—a tense, gothic, and beautifully unsettling atmosphere. But it’s a setup. You can feel the pressure building, waiting for the inevitable breakthrough.
When it hits, it hits hard. The relentless, driving rhythm laid down by bassist Jeff Koch and drummer Andy Rinn Martinek is the sound of that willingness to accept change. It’s the engine of the song, and Paul Maddison’s edgy guitar cuts through it all with a confrontational energy. This is the moment the uniqueness Evans speaks of is fully embraced, and it’s massive.
Evans is unflinching. She’s an award-winning filmmaker and playwright, and she brings a storyteller’s sharp-edged clarity to every line. She rejects false comforts from the start: “Baby, baby, this is cradle to grave, / Ain’t no way for us to atone.” The chorus is a clear-eyed view of a toxic world: “Everybody, everybody, everybody knows / Knife’s at the ready when you’re in a den of thieves.”
At the center of this storm is Evans’s emotionally devastating vocal. She delivers each line with authentic power that lands more like a necessary confession. When she sings, “Bless me, bless me, Father, I confess, / The fire in my soul, I can’t put out,” it’s a declaration of an unquenchable self, not a plea for absolution.
The track is so compelling because the philosophy and the music are one and the same. The song’s towering bridge—”Feel the river rise, rise, rise… / These angry skies, skies, skies… / Will open up and pour“—is the sound of that cathartic, transformative break. It’s no wonder the track, recorded at the legendary Power Station at BerkleeNYC, feels so sonically expansive. It had to be, to contain an idea this big.
“Blood Under The Bridge” is a heavy, complex, and deeply satisfying piece of work. It’s music with weight, and it’s easy to see why it (and SAVARRE’s other work) has been steadily catching fire with many outlets like Daily Music Roll and Music Existence.
Don’t just stream this track. Set aside five minutes, and listen to a story being rewritten in real-time.
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