50) Neon Trees- I Can Feel You Forgetting Me
Tyler Glenn and company returned with their first album in six years, and it’s packed solid with all of the signature charisma, energy and florescent alt-pop polish that hooked listeners a dozen years ago. Glenn’s inimitable vocal spark and quirky nuances work overtime, whether it be on hook-heavy singles like the flirtatious “Used to Like” and the bittersweet “New Best Friend”, or on raw, nervier moments like “Skeleton Boy”. At its core, the album is an exploration of the roller coaster of emotions that make up a break-up, covering all of the loneliness, self-destructive choices, and eventual acceptance that come with a romance’s demise. Tracks like “Nights”, “Mess Me Up”, and “Everything Is Killing Me” wield a sharp blade, without sacrificing any ounce of the band’s infectious nature.
49) Kylie Minogue- Disco
As pop fans devoured the latest albums by modern dance heavyweights Dua Lipa and Lady Gaga, Minogue returned with a dazzling, glitzy affair that adamantly reminded us all why she has been one of the gold standards in the sub-genre for the better part of three decades now. Chief among Minogue’s talents are obviously her sleek vocals and her equally silky-smooth way around a big hook, but her most impressive skill remains her ability to concoct an authentic disco sound that is deeply rooted in 70s spirit, but equally fresh and modern. Cuts like “Magic”, “Real Groove”, and “Last Chance” deserve to be dance floor staples once the clubs are crowded again, while campy gems like “Miss A Thing” and “Where Does the DJ Go” gloriously recall Olivia Newton-John’s best early 80s moments. Lead single “Say Something” is the ultimate moment however; an explosion of unadulterated glitter and fire that undoubtedly steals the show.
48) Sturgill Simpson- Cuttin’ Grass: The Butcher Shoppe Sessions
Sturgill Simpson continues to prolifically cement his status as one of his generation’s true musical chameleons. Since first emerging as a gritty Waylon Jennings disciple, Simpson has continually reinvented his sound with adventurous travels through psychedelia, brassy soul, and hard rock. On Cuttin’, Simpson reinvents himself once again by reinterpreting past material from all of those disparate sounds in the form of hardcore bluegrass numbers. Rich fiddle, mandolin, and banjo abound, with exuberant mountain spirit and gospel flourishes unveiling tremendous new layers to both Simpson’s reverent voice and a generous helping of his best songs, ranging from “All Around You” and “Life of Sin” to “Long White Line” and “Turtles All the Way Down”. A superb listen that joyously led to a second addition that Simpson snuck into circulation just prior to Christmas.
47) Jeff Tweedy- Love Is the King
The latest offering from alternative maverick Jeff Tweedy is an album that is slow to etch itself into your consciousness, but it’s a more than welcome guest once it gets there. It’s a laid back folk-rock affair, one that’s equally pensive and peaceful. Tweedy’s gritty, restrained vocals are warmly enveloped in full-bodied guitar arrangements that are both muscular, yet soft spoken. There’s a mysterious Lennon-like aura to performances such as the title track and the bouncy “Gwendolyn”, while selections such as “A Robin and A Wren” and “Natural Disaster” are more amplified highlights that tip their hat to his Wilco and Uncle Tupelo roots. All of these balanced contradictions create the perfect framework for an album that basically fulfills two simultaneous purposes: to examine the troubled times we live in, but also provide comfort that we’ll navigate them just fine in the end.
46) Green Day- Father of All Motherfuckers
The brazenly titled thirteenth studio effort from the punk legends is without question their most significant lane change in close to a decade, as they navigate the more retro templates of formative garage rock and basic rock & roll, rather than the grand, iconic sounds of anthemic post-punk. The set clocks in just past the twenty-six minute mark and employs brisk, simplistic rock arrangements, and some of Billie Joe Armstrong’s most unique and surprising vocal tricks ever. Obviously, nobody was going to confuse it with 21st Century Breakdown or Dookie, nor was that the intention of the record. Classify it however you wish, the result is a fun, entertaining, and quirky listen that, with its breakneck pace and concise song structures, is tailor made for excessive replays. “Fire, Ready, Aim” and “Meet Me On the Roof” are delirious joy rides, but moments like “Graffitia” and “Take the Money and Crawl” will still bring you to your knees.
45) Bob Dylan- Rough and Rowdy Ways
To hear Bob Dylan perform a song titled “I Contain Multitudes” is perhaps the biggest understatement in the history of music. The ragged legend returned with his first body of original tunes in a decade, and the staggering results were unsurprisingly a combination of the captivating folk prophecies that have defined his career and a muddy, gritty blues-rock sound that pairs perfectly with the long withered gravel of his foreboding voice. The musicianship throughout is enticingly splendid, astutely adding an alluring appeal to the otherwise spooky demeanor of Dylan’s deliveries. “False Prophet” drips with crisp, delicious blues riffs. “I’ve Made Up My Mind to Give Myself to You” rolls on a sweepingly sweet tide of humming vocals and bright guitar breeze. “Goodbye Jimmy Reed” is a gloriously invigorating roadhouse romp. And if you were craving a vintage, sprawling 17-minute Dylan epic shrouded in both history and mystery (and we know you were), enter “Murder Most Foul”, an epilogue of 60s culture with the JFK assassination serving as its centerpiece.
44) Phoebe Bridgers- Punisher
Budding alternative darling Phoebe Bridgers further expanded her presence in the national music consciousness with her sophomore solo outing, Punisher, a haunted affair highlighting the artist’s unique palate of vivid folk intimacy, slightly tortured whimsy and alt-rock fortitude. Soaked in moody guitars, spooky textures and Bridgers’ hushed inflections, one can’t help but feel like a ghostly presence filled these sessions. Tracks like “Kyoto”, with its inviting horns and peppy techno brushstrokes, “ICU” with its punchy yet morbid pulse, and the breezy comfort of “Graceland Too” all provide a welcome change of pace. But the truth is all of these songs carry a large degree of emotional baggage, and that’s what makes them so fantastic. The unabashedly depressing “Halloween” is a perennial standout, while the ultimate moment proves to be “Garden Party”, an absolutely otherworldy trip back to Bridgers’ childhood.
43) Kesha- High Road
High Road finds Kesha making a concerted effort to split the difference between her diverse musical identities by marrying Rainbow’s maturity and stylistic growth with Animal’s penchant for sexualized anthems squarely aimed for the club scene. Most times, she unifies these disparate sounds within the same song. It’s an ambitious and curious exercise, and consistently entertaining. Ballsy dance declarations (“My Own Dance”) take turns with charmed comedy (“The Potato Song” and “BFF”) and tender reflection “(Shadow” and “Father Daughter Dance”). The best moments reveal themselves however in her detours into Americana with “Chasing Thunder” and “Resentment” securing new high water marks in his catalog. One of the year’s most criminally overlooked records, High Road is a fantastic outing, thoroughly emblematic of all the ingredients that define the spectrum of American popular music at the dawn of the 2020s.
42) Fleet Foxes- Shore
Among the many fantastic surprise album releases in 2020 was this return from Robin Pecknold and Fleet Foxes, with the alt-folk troop’s first studio release in three years. In terms of sheer vocal wonder, Shore may be the preeminent recording of the entire year. The vocal performances and harmonic arrangements to be found throughout this record are sublimely mesmerizing. “The Featherweight” immediately recalls The Zombies with its lush and layered 60s style harmonies, while “Can I Believe You” is a hypnotic masterpiece, augmented by pulsating piano and a beautifully hair-raising sense of longing. Conversely, cuts like “Maestranza” and “Young Man’s Game” offer more stomping affairs, all the while still drenched in the resonant vocals and shimmering production that anchor the album every step of the way. Shore is a gorgeous record, overflowing with musical wonder and an inspiring sense of peace and acceptance to boot.
41) Red Rum Club- The Hollow of Humdrum
Each year, I make my fair share of new indie discoveries that immediately make me ponder why the hell I haven’t heard of a given act sooner. In 2020, Red Rum Club was the definition of such a case. Boasting a blistering horn-based sound, confident rock bravado, and dizzying performances, this British group deserves to be the next big breakout act to invade the American charts. From the tropical-flavored “Eleanor” to the brash “Kids Addicted” to the tongue-twisting “Vivo”, each song rampages from the speaker at a boisterously sweltering pace. They all bow however to opener “Elevation”, the most kick-ass single you haven’t heard this year. Red Rum Club is no one-trick pony however, as evidenced by the astonishing ballad, “Favourite Record”, which will linger with you long after it’s over. This LP is anything but humdrum; it’s fantastic from top to bottom.
40) Lori McKenna- The Balladeer
Lori McKenna is the epitome of a classic singer-songwriter. She bares every inch of her soul on her records, and in the process prompts each of us to connect with our own deepest emotions through the sheer power of experiencing her music. On her eleventh album, McKenna proves that she has the same poetic pulse on the human experience that she always has. This sturdy body of gritty and moving country folk songs dissects everything from the ever-evolving relationships between parents and children (“When You’re My Age”) to the unique bond between siblings (“Marie”), to the void left behind by those passed on (“The Dream”) to time-tested friendships (“Uphill”), to the shadows of one’s youth (“Stuck in High School”), and to of course, the challenges of married life (“The Good Fight”). Meanwhile, the title track is a gripping examination of an aspiring singer’s quest for both love and stardom, while the ladies of Little Big Town provide a true highlight with their vocal support on the vintage McKenna cut, “This Town Is A Woman”.
39) Pam Tillis- Looking For a Feeling
The classy and endlessly creative country chanteuse returned for her first solo record in thirteen years, with her pristine vocals, sly POV, and rich well of stylistic instincts all as firmly in tact as they’ve ever been. Over the course of these dozen new tracks, she guides us through a soul stirring tour of both swampy and sultry sounds, as well as the vast emotional depths of the human experience. In the process, she reminds us why she ranks among the true greats of country music’s 90s golden age. The title track plays like a bouncier, more hopeful rendition of her 2007 gem “Someone Somewhere Tonight”, while “My Kind of Medicine” is a gorgeous, reflective piece on the salvation to be found in life’s purest, simplest moments. Meanwhile, the slightly trippy steel-drenched “Dark Turn of Mind” recalls her father’s greatest moments, and “The Scheme of Things” is as slow burning and sensational as anything she’s ever recorded. Another gorgeous entry in a storied catalog from a fabulous singer and artist.
38) Will Hoge- Tiny Little Movies
Roots rocker Will Hoge knocks it out of the park on his eleventh studio album, and reminds us all over again that he remains one of American music’s best and unjustly kept secrets. His raspy and soulful twang is as commanding as ever, with the same to be said for his keen ability to combine rabble-rousing Heartland and country-rock sounds with sharp, detailed stories and character sketches. Opening cut “Midway Motel” excellently taps into the cinematic tones suggested by the album’s title, while sounding like long-lost track from Steve Earle’s Guitar Town. From there, Hoge capably balances between rollicking throwdowns like “The Overthrow” and “Con Man Blues” to the tender reflections of “Even the River Runs Out of This Town”, “Maybe This Is OK” and “All the Pretty Horses”. Elsewhere, lead single “The Curse” is as slicing and invigorating a slice of pop-rock as anything he’s ever recorded. Endlessly entertaining and engaging for every moment it plays.
37) John Anderson- Years
Like the previously mentioned Pam Tillis, John Anderson is one of those always-reliable artists and hitmakers from the contemporary country era that is far too easy to take for granted. His first album in half a decade found him pegging The Black Keys’ brilliant sonic scientist Dan Auerbach as producer. Auerbach unsurprisingly finds graceful and creative ways to invoke Anderson’s trusty traditional country with an elegantly enticing dose of rock, alternative and countrypolitan flourishes. The blended flavor makes a stunning backdrop for this troubadour’s still dynamically expansive twang. Life retrospectives such as “Years”, “I’m Still Hangin’ On” and “Celebrate” are wonderfully marinated in rich vocals and sage, lived-in wisdom while “Wild and Free” and “Chasin’ Down A Dream” tie it all back to the rambling, outlaw tradition. Meanwhile, “Tuesday I’ll Be Gone” is a fantastic duet between Anderson and Blake Shelton, and a reminder of just how terrific Shelton could be if he focused more on art rather than commerce.
36) Elizabeth Cook- Aftermath
As expected, Elizabeth Cook remains the reigning queen of hillbilly bad-assery on Aftermath, the riveting seventh long-player from the crafty singer-songwriter. Every track is a juicy collision course of demented honky tonk and muddy swamp-rock, from the eviscerating “Perfect Girls of Pop” and the saucy come-on “Bad Decisions” to the devilishly fun “Bayonette” and flat-out menacing “Bones”. All of those elements spill over in a fever pitch on the show-stopping “Thick Georgia Woman”, a declaration as fiery and sensual as anything Cook has recorded heretofore. She also makes room for tender, stripped down affairs as well, with the somber mortality tale “Daddy, I Got Love For You”, and the brilliant John Prine nod, “Mary the Submissing Years”, the precisely folky bit of humor and heart that we all needed this year.
35) Old 97’s- Twelfth
The latest release from Old 97s is not only one of the most consistently entertaining records in their impressive catalog, but also a thrilling, satisfying reminder that modern rock & roll music is still alive and well in all of its purest forms. Bandleader Rhett Miller navigates his troops through one crisp performance after another, all demonstrating their finesse within the realms of roots rock, shuffling country, introspective folk and bouncy bar band bliss. “The Dropouts” is a fresh and triumphant anthem for the underdogs everywhere. “Turn Off the TV” is an infectious dose of nostalgic, sonic comfort food. And “Bottle Rocket Baby” is a blistering deep dive into electric West Coast country while “Confessional Boxing” goes in the complete opposite direction by indulging in hard rock territory, and the results are indeed a knockout. Bassist Murray Hammond takes center stage on the stunning close, “Why Don’t We Ever Say We’re Sorry”, an intimate, high-water mark that once again demonstrates the diverse depth of this astute, thoughtful outfit that remains one of Americana’s most durable acts.
34) Cam- The Otherside
With her long awaited sophomore release, Cam further established herself as a glowing bright spot, and a severely underrated one at that, across the vast American music landscape. The honeyed character of her rich voice marries a sharp songwriter’s lens and a tremendous coloring book of genre stylings to create an absolute gem of a record. The deep-rooted, anticipatory tension of the title track and “Til There’s Nothing Left” is emotionally palpable while “Classic” and “Redwood Tree” are endearing, nuggets of nostalgia that evoke a smile and a tear respectively. “Forgetting You” and “What Goodbye Means” are guttural pieces of heartbreak that connect the artist back to her country origins. But nothing cuts or captivates more than the swirling mistress ballad, “Diane”, a brilliant merging of country narratives and power-pop intensity. All in all, The Otherside is a folk-pop marvel to behold.
33) Aubrie Sellers- Far From Home
Four years after her stunning debut proclaimed her as the goddess of what she calls “garage country”, Aubrie Sellers returned with her equally impressive sophomore showing. Sellers has not only inherited mother Lee Ann Womack’s ethereal vocal quality, but also invokes shades of everything from Dwight Yoakam’s amped up Bakersfield Sound to The Flying Burrito Brothers’ West Coast cosmos to Chris Isaak meets Gary Allan noir country to muddy Lucinda Williams ethos. Sprinkle it all with a dash of Seattle-inspired grunge and you have a singular stylistic identity unique to her and nobody else. Startling standouts abound from sardonic, sassy numbers like “Lucky Charm”, “Under the Sun” and “One Town’s Trash” to sultry slow-burners “Haven’t Even Kissed Me Yet” and “Worried Mind”. Best of all though is the Steve Earle collab’ on “My Love Will Not Change”, which they transform into something straight out of Fatal Attraction.
32) Drive-By Truckers- The Unraveling
Over a brisk nine-song track list, Drive-By Truckers accomplish more thoughtful reflection on more hot-button issues than a modern day session of Congress could ever dream of. Among the topics addressed you’ll find everything from the country’s epidemics of gun violence and drug use to elitist economics and white supremacy, to misogyny and migrant separation policies. So, yeah, it’s a bit heavy to say the least. But musically, they also make every riff, note, and lick count to marry raw singer-songwriter reflection with a rollicking sonic experience that leaves us just as much entertained as it does provoked. “Thoughts and Prayers” understandably garnered the most impactful attention, but performances like “Rosemary with A Bible & A Gun”, “Armageddon’s Back in Town” and “21st Century USA” are equally as soul stirring while “Babies in Cages” is just flat-out brutal in its grim honesty and sadness.
31) Reckless Kelly- American Jackpot/American Girls
Two decades into a revered career that has established them as Red Dirt royalty in the Texas country scene, Reckless Kelly unveiled their most wide-ranging project to date, a superlative double album that finds their musical dexterity, dusty vocals and storied narratives in all their glory. The first half of the record is essentially a concept piece, playing like a travelogue through the sights, sounds and dreams of America, and all the emotional gravity that comes with. Album opener “North American Jackpot” effectively sums up the prolific scope of the album to follow, which comes to stunning life with humble character portraits, ranging from “Tom Was a Friend of Mine” and “Mona” to “Grandpa Was A Jack of All Trades” and the absolutely crippling VA tale, “Put On Your Brave Face Mary”. The second, looser half of the album deviates from the conceptual boundaries, but is no less enjoyable thanks to standouts like the raw “I Only See You With My Eyes Closed” and the swinging “Anyplace That’s Wild”, a duet with the always fantastic Suzy Bogguss.
30) The Avett Brothers- The Third Gleam
The folk-rock favorites followed up the politically tinged nature of 2019’s Closer Than Together by returning to their acclaimed Gleam series, and in that spirit, the third installment strips things down to the basic hallmarks of the band’s magic: bare-boned folk-tinged compositions supported by nothing but their classic harmonies and all-acoustic trappings. That doesn’t mean they pull any emotional or topical punches though. “I Should’ve Spent the Day With My Family” finds a troubled father sorting through his emotions after hearing the report of the nation’s latest mass shooting, while “Prison to Heaven” is a sweeping narrative from a jailbird contemplating ending it all with hopes of salvation on the other side. Lead single “Victory” is precisely that, a dreamy and profound meditation that reminds us of how much the Avetts are truly capable of with so little. Finally, “The Fire” reveals itself as another vital moment in their canon, a staggering depiction of today’s world challenges, from the perspectives of a wide array of souls grappling with the meaning of it all.
29) Hayley Williams- Petals for Armor
With her first release as a solo artist, the Paramore frontwoman further established her legacy as one of alt-rock’s most powerful queens while revealing entirely new corners and depths of her artistic identity that simply never would have emerged within the confines of her band. Sure, there are the sizzling doses of power-pop that we’ve come to love her for in the form of “Dead Horse”, “Sudden Desire” and “Pure Love”, and she channels her inner-disco queen on the dazzling Kylie Minogue–esque “Over Yet”. But more than anything, Petals for Armor is an exorcism of the demons and struggles that permeated Williams’ life leading up to the creation of the record. She’s equally vulnerable and triumphant every step of the way as evidenced by remarkable tracks like the ethereal banger, “Simmer”, and the avant-garde-dance mash-up, “Watch Me While I Bloom”. Williams has only begun to show us what she’s capable of as an artist and entertainer.
28) Kip Moore- Wild World
Kip Moore is not only one of the few remaining likable male artists on the country charts, but he’s also, almost single-handedly, keeping the sound of Heartland Rock alive in the modern music scene. His fourth studio effort is his most fully realized project to date, staying true to the soulful twang and passion that we’ve loved since day one, while also pushing both his sound and narrative into new territories. “She’s Mine”, “Southpaw” and “South” are easily digestible and well-balanced country rave-ups, while “Janie Blu” and “Fire and the Flame” are beautifully rousing. The restlessly urgent “Hey Old Lover” meanwhile reminds us that he remains one of the most believable Springsteen disciples in a sea of country and rock imitators. The album’s best moment though may just be the earnest, rapid fire gem “Red White Blue Jean American Dream”, a far cry from the stereotypically jingoistic rally cries that bleed out of Nashville. Few recent songs or albums have made one feel authentically connected to the pure American spirit, but this one most definitely does.
27) The Strokes- The New Abnormal
For their first record in four years, The Strokes decided it was time to reinvent themselves a bit, by uniting for the first time with the God of modern day rock producers, Rick Rubin. The results marked a marvelous comeback, and what proved to be a joyous reacquainting with one of the most enticing bands to transform rock in the early millennium. The musicianship and production is crisp and deliberate throughout; we’ll all still be hearing that dizzying synth riff on “Brooklyn Bridge to Chorus” in our heads when we’re counting down next year’s version of this list. Best of all, bandleader Julian Casablancas is back in prime form here, both vocally and lyrically. His idiosyncratic, deadpan style is a triumphant crossroads where soulful and sardonic meet, and songs like “Bad Decisions”, “Selfless”, “Eternal Summer” and “Why Are Sundays So Depressing” rank among his most biting performances to date.
26) Little Big Town- Nightfall
The ninth studio album from country stalwarts Little Big Town was perfectly primed for its mid-winter’s release. Bitterly cold, moody and pain-stricken at times, yet warm and romantically cozy at others. Throughout it all, Nightfall was unwavering in the band’s signature, vibrantly magic cocktail of sterling harmonies and soul-stirring songs, of which provided plenty of relief far beyond the colder months as the world spun out of control. “Next to You” is a mysterious concoction of atmospheric wonder. “Over You” sounds straight out of a 70s country jukebox. On “Throw Your Love Away”, Kimberly Schlapman’s sweet and supple vocals recall both 70s Dolly Parton and 90s Patty Loveless. And then there’s the quartet of tunes that aim straight at the heart of the weighty matters defining both everyday life and our divided country: “Problem Child”, “The Daughters”, “Questions” and the awe-inspiring “Sugar Coat”. The entire record is tasteful, deliberate, and perfectly in tune with each individual song’s dynamic theme, all the while tied to a cohesive current of emotional depth at each and every turn.
Listen on Apple Music: Fifty Best Albums of 2020, Part I
Continue to Part II
The 706 