A debut EP has the ability to present an artist, but “God in the Wild” does more than that: it tells a story. This four-track album gives the impression not so much of a formal debut as of having opened up the pages of a life that has been lived, doubted, given up, and in the end accepted. Tuttle makes her entrance onto the music scene with a warm and genuine voice, and at the same time her songwriting seeks out a faith without abandoning its human element. It is a lovely first contact, and one which merits more than just the standard polite applause.
From the first notes, the EP goes through a clear emotional journey: that of choosing love, giving up control, attaining freedom, and finding the holiness which is within us all.
The EP opens by focusing on love. Instead of relying on typical romantic stereotypes, “I Choose You” portrays commitment as a deliberate choice. Tuttle speaks of staying not only when life is simple but also when the weather becomes cold and tough; it is this aspect that gives the song its emotional power. The love depicted is not presented as a perfect endpoint but rather as a promise that is continually renewed in everyday life. This theme is suitably expressed through her vocal performance, since no excessive drama is needed and the emotion comes across as honest and genuine. The production, carried out by Monty Jackson for KinShift Music, adds an uplifting pop and roots feel to the song, bestowing it with warmth while at the same time keeping the songwriting at the heart of the piece.
On “I Put My Trust in You,” the emotional aspect gets more intense. While the opening song was concerned with choosing someone, this one is about learning to stop needing to control what happens afterwards. It reflects the terrifying situation one faces at a crossroads when certainty is gone. Tuttle transforms vulnerability into strength, so that surrender sounds less like a failure and more like an act of courage. Her performance conveys the meaning of admitting, “I don’t know what’s going to happen next, yet I am willing to trust.” It is here that the EP’s spiritual character becomes more evident. The arrangement and orchestration allow the song to feel broad without losing its human essence.
It is with the title track that Tuttle finally reaches her full potential. “God in the Wild” appears to be the EP’s great release; a refusal of social conventions and the pressure to conform to someone else’s notion of who you ought to be. The imagery of running barefoot, dancing, connecting with nature, and reestablishing contact with a wild spirit gives the song a joyful feeling of liberation. This is the most direct statement of Tuttle’s identity as an artist; she is not looking for the divine in perfection. Instead, she finds it in freedom, nature, instinct, and authenticity. The production matches this sense of liberation. The pop and roots influences come together in a way that gives the song accessibility and individuality.
The EP’s final song extends its focus from the individual to include all people. “We’re All Holy” puts forward a simple yet powerful question: what occurs when we open our hearts and reach out to another person? The reply is just as straightforward: love can act as a compass that serves to remind us of our common value. It functions so well as a concluding track because it brings together the EP’s main themes- love, trust, freedom, identity, and faith- and unites them. Tuttle’s message is neither exclusive nor preachy; it is an invitation.
The four tracks of “God in the Wild” have a natural progression: they start with a focus on love, then move on to trusting even when certainty is lacking, break into a section about personal freedom, and finish with universal love. This sequence is what makes the EP seem like a story rather than just a series of songs. Monty Jackson’s contribution as arranger, orchestrator, and producer is just as important in creating this sense of flow. His production combines uplifting pop, roots-style textures, and orchestral colour while ensuring that the emotional storytelling remains the central feature. Instead of overpowering Tuttle’s voice, the musical background provides her with room to breathe and develop. It is indeed Tuttle’s voice that forms the core of the project. She sings the songs with a kind of openness which causes you to feel less like a member of the audience and more like a trusted friend on the journey.
As a first book, “God in the Wild” shows great confidence. It doesn’t claim that Mary Tuttle has all the answers; rather, it presents an artist who is willing to put forward honest questions, accept uncertainty, celebrate love, and find the sacred in surprising places. Regarding Mary Tuttle, this should be seen as more than just a welcome. It should be regarded as an open door. The music has now arrived, the journey has started, and “God in the Wild” is a beautiful first move.
Listen to the EP on YouTube
