25) Fiona Apple- Fetch the Bolt Cutters
Fiona Apple awakened from one of her notoriously long slumbers between albums to unleash the arresting Fetch the Bolt Cutters, easily one of the most sonically earthquaking releases of the year. An instant alternative classic, her gut-wrenching vocals are supported by everything from her classical piano skills to barking hounds. And yet you never find yourself questioning the utter weirdness of it all for one moment, because well, it all just fucking works. Along the way, Apple lays a bloodbath of human experience at our feet, ranging from sexist double standards (“Rack of His”) and society’s determination to divide women against one another (“Ladies”), to a grim account of sexual assault (“For Her”). And though recorded prior to the pandemic, the startling title track is the perfect COVID anthem, playing like a mental breakdown from the darkest depths of quarantine hell.
24) Nathaniel Rateliff- And It’s Still Alright
Recorded in the aftermath of a divorce and the loss of producer and friend Richard Swift, Nathaniel Ratefliff veers away from the exuberant Stax-brass magic that has defined his career for the past five years while rising to fame with his smoldering rock & soul outfit, The Night Sweats. Instead, he settles in for a cozy and meditative outing that is no less inspiring a showcase of his diverse talent. These tunes are hushed and minimalist in their presentation, and therefore all the more a revelatory display of the rich and gritty soul that resides deep within Rateliff’s fiber. “What a Drag” is slick and charming, “Expecting to Lose” slinky and swampy, and “Kissing Our Friends” a nakedly confessional ode to a relationship where wandering eyes exist on both sides, yet somehow remains romantic all the same. Meanwhile, the title track and “Time Stands” equally form the centerpiece of the record, representing the crossroads in the grieving process where hope and regret gorgeously collide. This is Americana soul food, and Nathaniel Rateliff once again proves himself as its master creator.
23) The War and Treaty- Hearts Town
Speaking of rock & soul, married couple Michael Trotter and Tanya Blount-Trotter emphatically declare themselves as the perennial king and queen of such a genre with their rafter-rattling sophomore release, Hearts Town. This sensational record burns the candle at both ends with both rippling rock heat and emotional soul passion. Individually, both are pristine vocalists. But like all great musical duos, it’s the chemistry and magic that permeates when they unify that sends their music into the stratosphere. Tracks like the jubilantly seductive “Five More Minutes” and the tremendous title track are swirling slices of soul and R&B that sound transplanted from the 1960, yet somehow ever-present in 2020. They pretty much reinvent the meaning of the word on “Yearning”, while digging deep into their gospel roots on the stirring finale, “Take Me In”. Finally, exuberant guest turns from the likes of Jason Isbell (“Beautiful”) and Jerry Douglas and Chris Eldridge (“Hustlin'”) provide the generous icing that this album didn’t need, but only heightens its greatness further.
22) Ashley McBryde- Never Will
Rising country maverick Ashley McBryde further asserted herself as an artistic force to be reckoned with on this, her superlative sophomore effort. Building on the striking promise of her 2018 debut, her powerfully thick twang, razor-sharp compositions, and grizzly guitar muscle endlessly command the listener’s full attention through a swaggering yet thoughtful set list of honky tonk authenticity and Southern Rock fury. The title track is a scrappy anthem of perseverance in the cut-throat music world, lead single “One Night Standards” is an intelligently mature portrayal of a booty call, and “First Thing I Reach For” is a sprightly, down-home peek into the aftermath of such an event. Meanwhile, she flawlessly balances cowpoke comedy on “Styrofoam” with weightier moments such as the blood-curdling cheating song, “Voodoo Doll”, and the savagely blood-thirsty murder tune, “Martha Divine”. Never Will is one of those much-needed reminders that the heart of modern country music is indeed still beating.
21) Paul McCartney- McCartney III
With McCartney III, the legendary rock innovator continues to provide his rabid fanbase with a seemingly endless supply of late-career highlights. At age 78, Macca’s as confident, creative, and commanding as he’s ever been and this, his 18th solo outing, is slick, nimble, and boisterously entertaining from top to bottom. His instrumental dexterity remains impressively expansive, as demonstrated on the tasty instrumental “Long Tailed Winter Bird”, and his rock bona fides remain the gold standard on bopping numbers like “Find My Way”, “Slidin'”, and “Lavatory Lil”. And when things really intensify on both “Deep Deep Feeling” and “Deep Down”, he demonstrates the attitude and showmanship that could still send any modern day rock hotshot bowing in adulation. As has been the case throughout his entire career, he’s just as capable of turning inward with peerless reflection and grace, as evidenced in the album’s quieter moments like “Pretty Boys” and “Women and Wives”. Pure and simple: McCartney remains in a class all his own.
20) Lucinda Williams- Good Souls Better Angels
As one of the most thoughtful and outspoken songwriters to ever grace the American songbook, it goes without saying that Lucinda Williams has never been one to mince her words, particularly when she’s got a few reasons to be pissed off. Let’s just say that today’s current events have given Williams plenty to get her blood boiling. This all serves as the basis for possibly the most bitterly brash record in a catalog equally revered for its unwavering conviction as its stunning eloquence. It also makes for one of the most gloriously rocking and invigorating projects she’s ever laid to wax. Even if you disagree with the political nature of tracks like “You Can’t Rule Me”, “Pray the Devil Back to Hell”, and “Man Without A Soul” (which make no mistake about who they’re referencing), you’ll still be tempted to indulge in the swampy blues greatness of the guitar riffs and accompanying music to be found throughout. And just when she’s got you spitting mad, she’ll also rip your heart out, like only she and her ragged voice can, with somber folklore such as “When the Way Gets Dark” and “Good Souls”.
19) The Secret Sisters- Saturn Return
In the decade that has passed since their sterling 2010 debut, The Secret Sisters have evolved from a gloriously retro novelty act into a diversely adventurous roots powerhouse, and literally one of the best kept secrets in the Americana realm, ripe for discovery by a wider audience. Their harmonic sound remains a true presence and a tour de force all its own, and their fourth LP continues down a path of harrowing country storytelling, folk poetry and chilling vocals. “Silver” is a swampy and gutsy ode to a mother that weathered countless hardships to pave the way for her children. The lilting “Late Bloomer” sensationally transports the siblings through a soulfully vintage throwback to the classic girl groups of the 50s and 60s. “Water Witch” is a downright spooky duet with co-producer Brandi Carlile. But “Cabin” is the ultimate moment by far; a devastating exorcism of pain and anger from the perspective of a rape victim. Saturn Return is rich in texture, daring in content and at all times, heartfelt and beautiful in delivery.
18) Dawes- Good Luck with Whatever
On their seventh studio effort, Dawes once again passionately and emphatically confirms that they remain one of the most literate and entertaining rock bands in existence today. Good Luck with Whatever is astutely peppered with the rock & roll chops, folk reflection and lyrical imagery that the band’s loyalists have been raving about for over a decade now. The record is balanced with both a jubilant youthful spirit (“Still Feel Like A Kid”) and the looming passage of time (“Me Especially”). “Saint Augustine at Night” turns inward toward the band’s folksy roots, while lead single “Who Do You Think You’re Talking To” is chalk-full of all the restless urgency that has been a band calling card. And tracks “Good Luck with Whatever” and “None of My Business” are brilliantly biting in all their sardonic glory. But it’s the pair of social commentaries in “Free as We Wanna Be” and “Didn’t Fix Me” that are absolutely must-hear tracks for anyone grappling with the pressures of today’s fast-paced societal culture.
17) Brandy Clark- Your Life Is A Record
Brandy Clark’s third studio release stays ever faithful to all of the signature qualities that have made her one of the most refreshing new voices of the past decade. Sharp and articulate songs are paired with a passionate country voice that is equal parts witty and empathetic in its delivery of honest, realistic tales of every day people and every day life. She and producer Jay Joyce grow casually more adventurous with the stylistic brushes they paint with, incorporating fantastic shades of brass horns, subtle synth and gloriously haunting strings to perfectly frame these intimate tunes. She recalls everyone from Trisha Yearwood on the warm and resonant “I’ll Be the Sad Song”, to John Prine on the salty “Long Walk”, to Patty Loveless on the pain-stricken “Pawn Shop”, and then duets directly with Randy Newman on “Bigger Boat”, a timely and folksy indictment of our nation’s political and cultural divides. Her greatest forte however remains examining the relationships that come in and out of our lives, as she does expertly on cuts like “Who You Thought I Was”, “The Past is the Past”, and the stinging “Apologies”.
16) AWOLNATION- Angel Miners & The Lightning Riders
With each new track on their fourth record, Aaron Bruno and AWOLNATION travel progressively deeper into a well of acid-laced psychedelia and boundary-less mystery. The band has always resided in their own stratosphere, but this latest era of their music is the portrait of a band at their experimental, adventurous apex. And that’s not to even mention the emotional heights they reach throughout Angel Miners & The Lightning Riders. Opening track, “The Best” shoots out like a cannonball and there’s no turning back from there. “Mayday!! Fiesta Fever” is the most deliriously bizarre yet infectious romp to invade any corner of the music world in many moons, while “Pacific Coast Highway in the Movies” is a breezy duet perfectly matched with Weezer’s Rivers Cuomo. The band’s hard rock tendencies spill over the surface on the demonic heartbreaker, “Battered, Black & Blue (Hole In My Heart)”, and they reach a masterful level of atmospheric wonder and establishment paranoia on the absolutely epic “Slam (Angel Miners)”. There are bands that merely create entertainment with their music, and then there are those that create an all-around experience. AWOLNATION has long since crossed over to the latter category, if they weren’t always there from the onset.
15) Taylor Swift- Evermore
Far more than simply a kid-sister to Folklore, or a collection of outtakes from that album’s session, Evermore undoubtedly gives its predecessor a clear run for its money when it comes to the distinction as Swift’s most pivotal artistic achievement to date. It remains loyal to the alt-leaning chamber pop dressing that was such a revelation on Folklore, and then unveils a body of songs that is equally as compelling. “Willow” deliciously acts as both a cutting folk number and a viscously danceable ear-worm. The guest list features an impressive roster of alt-rock heavyweights, from HAIM on the captivating country-tinged revenge song, “No Body, No Crime”, to The National on the solemnly nostalgic “Coney Island”, to the returning Bon Iver on the deceptively soothing title track. But it’s Swift’s natural ability to capture the vivid emotions of romance and heartbreak that remains her most potent weapon, and only more so as she has matured into the artist she is today. No track illustrates this more profoundly than “Champagne Problems”, a devastating tale of a failed marriage proposal that fabulously spotlights all the qualities that have made her as much a poet as a superstar.
14) Tame Impala- The Slow Rush
The alluring, awe-inspiring sounds of Kevin Parker’s Tame Impala are a lush wonder to behold, with a wide array of touchstones deeply rooted in everything from late 60s psychedelia and 70s AOR, to Bowie space rock and classic disco vestiges, to indulgent 80s glam and vintage 90s dance. However, behind all the glorious production and sound of The Slow Rush, you’ll find a thoughtful singer-songwriter record at its core. These songs are an epilogue of reflection on the passage of time, and how that inescapable phenomenon impacts both ourselves as individuals and our relationships. No track illustrates that theme more prophetically than the monster single “Lost In Yesterday”, but killer moments like “One More Year”, “Tomorrow’s Dust”, and the Zeppelin leaning father-son tale “Posthumous Forgiveness” all fulfill that task dutifully and hypnotically as well. This record is a stunning achievement in both recorded music and songwriting gravitas alike, and undeniably one of 2020’s high-water records.
13) The Weeknd- After Hours
This fourth album from the velvet-voiced sonic scientist is another marvel of sound from an act that has progressively proven himself to be one of the restlessly creative and ambitious performers in today’s pop world. It’s drenched in a truckload of vintage but updated flourishes of 80s greatness, from New Wave to dream pop to straight up dance. Lyrically, it’s as personal and candidly dark as anything we’ve heard to date from Abel Tesfaye. He confronts the mistakes he’s made in his romantic life and tackles them with an impressive combination of angst and grace, as evidenced on moments like “Hardest to Love”, “Scared to Live”, “In Your Eyes”, and the gutting “Save Your Tears”. The title track immediately hooks the listener for its Stranger Things-influenced synth, before ultimately exploding into a tipsy club fog that is enthralling, and oh so melancholy. Most intoxicating of course is the cultural smash, “Blinding Lights”, which takes on a chilling new identity within the context of the album; it’s just as much a battle with one’s inner demons as anything else to be found here.
12) Miley Cyrus- Plastic Hearts
Without question, it’s been a long and complicated road to Miley Cyrus’ seventh album, Plastic Hearts. Which is precisely why this outstanding record is arguably the most satisfying surprise of the year. Her raw talent has always been apparent, and she’s flirted with greatness on plenty of occasions before. But this transformation into a modern day glam-rock powerhouse is the most consistent, confident and cohesive moment of her young career. “Midnight Sky” was an electrifying revelation, and she matches the intensity and contagion of that perfect single time and time again throughout this album, with “WTF Do I Know” and the title track chief among them. In between, she’s joined by an onslaught of impressive guests that includes Dua Lipa, Billy Idol, Joan Jett, and Stevie Nicks in a series of collabs that work impressively well. But as fantastic as she is in full-on rock mode or jamming with her idols, it is the morose, personal ballads ranging from “Angels Like You” to “High” to “Golden G-String” that shine the most light on her singing and composing magic. This is the record Miley Cyrus was always destined to make, and is hopefully a sign of more to come.
11) The Jayhawks- XOXO
XOXO is another exceptional triumph in the storied discography of alt-country heroes, The Jayhawks, who for the past three plus decades have countlessly asserted themselves as some of the most reliable curators of the core sounds of American roots music. Their eleventh long-player is a sensational smorgasbord of sonic textures: steel-tinged country with sizzling guitar rock (“This Forgotten Town”), shuffling parlor piano (“Living In A Bubble”), soulful balladry (“Rita”), raw acoustics (“Looking Up Your Number”), shimmering pop harmonies (“Illuminate”), and folk-rock jangle meets 90s Heartland spirit (“Dogtown Days”). It’s as well-rounded and stacked of a track list that you could ask for; tailor-made for an infinite amount of repeat spins. XOXO is an undeniably dizzying delight to both the ears and the souls of any true American music connoisseur. If you’re still not familiar with this veteran group, make doing so you first official musical resolution of 2021.
10) Lady Gaga- Chromatica
Chromatica triumphantly marked Lady Gaga’s long awaited return to the dance world that she completely reimagined in the late 2000s and early 2010s. It’s every bit as fascinating and scintillating as her early classics, and emphatically declared that, while she had vacated the dance throne for a while in favor of exploring other genres, it’s still ultimately hers to claim whenever she damn well pleases. Lead smash, “Stupid Love” was a colorful burst of her long-standing trademarks, but merely scratched the surface as to what awaited on the overall project. She swings for the fences with diverse and colossal collaborations like “Rain On Me” (with Ariana Grande), “Sour Candy” (with K-Pop girl group Blackpink”), and “Sine From Above” (with Elton John, an obvious influence both musically and aesthetically). In between those box office moments, she champions liberation for all women and abuse victims alike on “Free Woman” and “Plastic Doll”, dives headfirst into personal despair on “Alice”, and scores monumental power-pop moments with the bittersweet “Fun Tonight” and the dramatic “Enigma”.
9) Margo Price- That’s How Rumors Get Started
For her critically acclaimed third record, Americana troubadour Margo Price planted one foot in the revered 70s sounds of idols like Loretta Lynn, Emmylou Harris and Stevie Nicks, while keeping her other pointed squarely toward the future. Proving that she’s far more than the traditional country revivalist that critics fawned over on her first two records, Price and co-producer Sturgill Simpson craft a crackling album that finds the singer’s sound, and POV, ever evolving and branching out. “Twinkle Twinkle” and “I’d Die For You” douse her honky tonk roots in a gallon of dangerous acid-rock and lights things up in an outstanding blaze of fury. “Heartland Mind” cleverly and subtly sneaks in hints of New Wave attitude to compliment her biting twang. Selections like the title track, “Letting Me Down” and “Prisoner of the Highway” find the spirit of Outlaw country and Cosmic American sounds intersecting with an updated 2020 zeal. At the core of it all is Price’s remarkable and emotive Southern pipes, which turn in their most stirring turn yet with the album centerpiece, “Stone Me”.
8) Chris Stapleton- Starting Over
With his long-awaited follow up to 2017’s acclaimed From A Room series, Chris Stapleton continues to reign as one of the premier sturdy rocks for honest and passionate authenticity in American music; one of the rare acts who has managed to seamlessly bridge the considerable gap between the mainstream country scene and the realm of Americana and roots music. As on his first three records, Stapleton continues to do so on Starting Over with the time-honored qualities of impassioned vocals, gritty instrumentation and no-frills songwriting. The title track is an arresting proclamation of love and loyalty, buoyed by the bare-bones arrangements and raw, soulful harmonies with wife Morgane Stapleton. He digs deep into his blues influences with the hair-raising “Cold” and splendid “You Should Probably Leave”, while “Arkansas” and “The Devil Made Me Think Twice” unleash flames of Southern Rock fire. He gets sentimentally sweet on the tear-jerking dog song, “Maggie’s Song”, as well as on a soothing cover of John Fogerty’s “Joy of My Life”. Meanwhile, “Nashville, TN” is a stingingly solemn account of the harsh realties that come with dreaming big in Music City.
7) HAIM- Women In Music, Part III
Make no bones about it, the sisterly trio that makes up HAIM has been fantastic from the moment they dropped their debut record in 2013, and scored a moderate hit with single “The Wire”. They’ve flown criminally under the radar since, so the mass critical acclaim that has been showered upon Women In Music, Part III rightfully makes it feel like their official coming-out party. A moment that’s further solidified by the fact that the record legitimately elevates their already-stellar musical game. Their pure and often sardonic sibling harmonies are as rich and bountiful as ever, especially when provided new settings to shine like in the hip-hop leaning “3am” or the quirky opener, “Los Angeles”. Tracks like “Hallelujah” and “I Know Alone” keep their introspective narratives at the forefront, while standout singles “The Steps” and “Don’t Wanna” are further samplings of their killer ability to balance sharp, incisive lyrics with infectious, hook-laden melodies. If there’s any justice, it’s only a matter of time before HAIM is ruling the rock airwaves.
6) Dua Lipa- Future Nostalgia
Titling an album Future Nostalgia is certainly a bold and confident play to make. But as the year unfolded, it also revealed itself as an utterly appropriate one as Dua Lipa’s magnetic sophomore album inarguably takes the prize for most unstoppable pop dynamo of 2020. It’s a fetching batch of spell-binding and entertaining anthems that display an astute balance of iconic 80s touchstones, new millennium dance stylings, and her own unique POV and vision for the pop sounds of the future. Irresistible smashes “Don’t Start Now”, “Break My Heart” and “Levitating” have all proven their pop potency with their impressive chart domination, but deeper cuts like “Physical”, “Love Again”, and “Good In Bed” all offer the same inescapable dance euphoria. With the album’s finale, “Boys Will Be Boys”, Lipa demonstrates the depth of her artistry as she pivots into more profound territory by confronting the double standards of gender stereotypes, general misogyny, and the all-too-often downplayed seriousness of sexual assault. Again, the title for this album is far more than daring posturing; it’s a confident prophecy that Dua Lipa more than fulfills throughout this thrilling album.
5) Bruce Springsteen- Letter To You
The Boss spoiled his long-time fanbase by quickly following up 2019’s brilliant Western Stars with Letter to You, a exalted return to his prime classic rock sound with an updated E-Street Band lineup, including legendary saxophonist Clarence Clemons’ nephew Jake on the same instrument. Forty plus years on from their 1973 debut, Springsteen and his troops sound just as vital and electric as ever before. This of course makes Letter to You a celebratory event, but the deep well of songs here also unveils a grim, somber sense of loss and mourning of both time and loved ones that he’ll never be able to regain. Above all, this is a riveting contemplation of mortality and life losses. The soft and tender opening “One Minute You’re Here” gives way to the blood-pumping yet bittersweet “Letter To You”, signifying a battle of emotions that continues through the entire record, with cuts like “Last Man Standing”, “The Power of Prayer”, “House of Thousand Guitars” and “Ghosts”. He fleshes out the record with three tracks written prior to his major label breakthrough in the early 70s, and they fit in remarkably within the context of the record, with the sizzling epic “Janey Needs A Shooter” particularly demonstrating just how much fire Springsteen has left in his soul.
4) Jason Isbell & The 400 Unit- Reunions
Jason Isbell has long since proven himself to be the most strikingly prolific singer-songwriter to be found in today’s musical landscape, and with his seventh studio set, he continues to expose both deep realms within his soul, and the limitless bounds of his gifted prose. Following the burning political nature of its 2017 predecessor, Reunions returns to more intimately personal scenes, But it never censors any of Isbell’s pointed, brutally honest deliveries, as evidenced by the tense, steadfast first single, “Be Afraid”, or “What’ve Done to Help”, which finds Isbell holding himself accountable for his own cultural blinders. Searing cuts like “Only Children”, “Running With Our Eyes Closed”, and “Overseas” are as haunting as anything he’s recorded to date, while the seemingly chipper “Dreamsicle” lures you in with all of its charms before dropping an emotional wallop on your senses. And things come full circle beautifully for the artist with the inspired “It Gets Easier”, which documents Isbell’s continued battle with temptation in his daily quest for sobriety. His output has been so fantastic for so long that it’s become damn near cliche to call an album of his staggering, but that’s exactly what this is; another landmark entry in a catalog brimming with legendary moments.
3) Taylor Swift- Folklore
When Taylor Swift officially declared herself a full-fledged pop star with the launch of 2014’s 1989, it was an artistic shift that had been seen from a mile away for a country singer who had more than flirted with crossover domination from the very start. Conversely, this year’s surprise appearance of Folklore, and its unveiling of Swift as a magnificent alt-folk wizard, came completely out of left field. However, its impact on the music world and her artistic trajectory has quickly proven to be just as pivotal. Cooked up in the deepest isolation of quarantine, the hushed alternative and chamber pop trappings showcase the rewarding growth that Swift has achieved as both a writer and a vocalist. Her affinity for pop contagion is not completely abandoned as displayed by slow-burning earworms like “Mirrorball” and “The 1”, which offers a particularly delicious bite. The marvelously catty “The Last Great American Dynasty” feels like a grown-up, fully-formed version of some of her best early country tales, while her chemistry with Bon Iver on the chilling duet “Exile” further illustrates her natural ability to conquer any sonic setting she sees fit. The heart of the record is of course the set of characters which make up the well-publicized trilogy of “Cardigan”, “August” and “Betty”, vivid portrayals of young love that further exemplify just how far Swift’s craft for storytelling has really come. Far more than just a great record, Folklore is destined to become one of those moments that forever signify a specific landmark in time for both the artist, and the music world itself.
2) The Killers- Imploding the Mirage
From the moment they graced the music scene sixteen-plus years ago, The Killers have undeniably been one of the true “rocks” of rock music; releasing music that has always been honest, measured, and satisfying. Yet while they’ve never strayed from that consistent path, Imploding the Mirage nevertheless feels like a return to form for the group, feeling as connected and in spirit with early albums Hot Fuss and Sam’s Town as anything they’ve released since those two classics made them household names. It’s a colorful and inspired body of work that swells and sways at all the right moments. Bandleader Brandon Flowers is as captivating vocally as he’s ever been, and the entire album finds the band still very much in their prime lyrically and musically. They continue to blend their unique brand of rock atmospherics with vast influences pulled from Bruce Springsteen’s Heartland roar, U2’s penchant for high octane drama, and everywhere in between. Hits “Caution” and “My Own Soul’s Warning” have already earned their keep as modern classics, while “Dying Breed” and the title track are just as urgently enticing. However, the surging pinnacle of the record proves to ultimately be “Lightning Fields”, a mysteriously powerful performance which proves a Flowers-KD Lang duet was the vocal collaboration none of us knew we needed so badly. Imploding the Mirage is a masterful album that immediately sets a lofty bar for all pure rock records to follow in the 2020s.
1) The Chicks- Gaslighter
Fourteen years removed from their last album, the anticipation and pressure riding on the return of The Chicks was enormous. Not only did the flawless Gaslighter not disappoint, it only further extended the already grand scope of the band’s achievements as true artists, superlative musicians, and curators of rich, moving music. Essentially a divorce record written in the aftermath of lead singer Natalie Maines’ marital disintegration, the record follows the path of their 2006 predecessor, Taking the Long Way, which essentially transformed the trio into full-blown singer-songwriters. Remarkably so, this album takes the raw personal nature of that album and magnifies it even further. Brilliant performances such as the blazing title track, the fierce “Sleep at Night”, and the hilarious “Tights On My Boat” find Maines scathing her adulterous husband without any punches pulled, keeping perfectly in tune with the band’s long-standing signature sass and ferocity. Even more outstanding however are the tender and tattered moments that find the band exposing the most painfully complicated moments of such heartbreak and betrayal. “For Her” is a gorgeous soul anthem that grapples with the impact a divorce has on a young daughter, while “Young Man” is a stripped down declaration of love from a mother to a son who’s been dealt the blow of seeing his family fracture. Passionately aching moments like “Everybody Loves You”, “Hope It’s Something Good” and the desperate “Set Me Free” chronicle the wide range of reactions, both physically and emotionally, that one feels in the wake of a marriage’s end. Through every note and lyric, Maines lays her soul nakedly on the surface for all to hear, unearthing new dimensions of her multi-faceted voice to remind us all that she’s one of the most singularly gifted singers of her generation. Bringing the entire mood and spirit of the album together is producing master Jack Antonoff, who colors the record with a vibrant array of sounds that dabble in bright power-pop, haunting rock, soul harmonies, and gritty folk, all while keeping the band’s country and bluegrass roots at the center of it all. It all merges marvelously to create a beautiful, textured record that magnificently showcases the heart of these songs and the illustrious talents of these three women. A decade and a half was certainly well worth the wait: Gaslighter is a masterpiece in every sense of the word.
Listen on Apple Music: Fifty Best Albums of 2020, Part II
Return to Part I
The 706 