25) Sunny Sweeney- Married Alone
In an alternative, and much more just, country music universe, Sunny Sweeney would have found herself joining female superstars like Carrie Underwood and Miranda Lambert at the top of the Music City mountain for the last decade and a half. Her authentic yet modern brand of C&W continues to pull from a deep well of the best and most varied women giants in the genre: the twang of Loretta Lynn, the authentic country-rock production of Emmylou Harris or Patty Loveless, the biting and literate lyricism of women like Dolly Parton, Rosanne Cash, and Mary Chapin Carpenter, and the brash, ball-busting sass of Natalie Maines and Lambert herself. But with Nashville’s misogynistic mindset as far gone as it’s ever been, those skills simply don’t result in commercial success. Regardless, Sweeney’s true-life destiny as an underground Americana favorite has done no harm to her artistic journey, with this fifth studio album proving to the most wholly-realized album in an already fantastic discography. Her shit-kicking stomp has never sounded as brazen and fiery as it does on tracks like the opening “Tie Me Up” (an unapologetic and refreshing declaration of feminine, sexual independence in a social era seemingly defined by the unwriting of decades of equal rights progress), the barn-burning, finger-picking of “Someday You’ll Call My Name”, or the gloriously disgruntled temptation of “All I Don’t Need”, where she frankly bemoans, “I need falling in love with you like I need a hole in my head.” Never one to box herself into her own excellent realm of modern honky-tonk, Sweeney just as effectively pivot to the slow-burning torch of countrypolitan (“Fool Like Me”) or weepy Wynette-styled tearjerkers (“Married Alone” with Vince Gill). But none of these excellent tracks are as sonically tasty or emotionally piercing as “Easy As Hello”, a rumination on the gumption required to end a dead relationship so contagious and astute that its simultaneously burns and delights the listener. To put it as frankly as Sweeney does her songs: Married Alone is as solid of a pure country record as you’ll find anywhere this year. (October 2022)
24) Jack White- Fear of the Dawn
Fear of the Dawn is the first of two records that enigmatic rock sorcerer Jack White birthed in quarantine and unveiled throughout 2022, with the detail that one would skew folk while the other would remain in his standard heavy rock territory. It doesn’t take long for Dawn to announce which of the two categories it occupies, with lead single “Taking Me Back” immediately roaring at the listener full-blast with all of White’s edgy rock calling cards: thunderous guitars, intensely frantic arrangements and the singer’s definitive vocal wails. Then, in an instant, the opening track suddenly sounds like a coffeehouse meditation by comparison once White launches into the heart-stopping rapture of the title song. The volume, intensity, other-worldly reflection, and hysterics rarely step off the gas as the rest of the record progresses. So, in other words, it’s classic Jack White. It’s certainly not a comforting or soothing listening experience, nor should a trip inside the brain of Jack White ever be expected to. At the risk of simplifying his art, Jack White’s music is very much like the rock music equivalent of the horror genre in the cinema world. It’s going to shock, unnerve, and ultimately thrill you. But just as some horror cinematographers view and present their work as contemplative forms of art, so does White. As with all of his preceding albums, there is a stirring sense of cosmic contemplation, fear and also beauty to be found through Fear of the Dawn. Often-times, all of these are packed into one singular moment, most brilliantly on “Morning, Noon, and Night”, which is one of the finest showcases of modern classic-rock my ears have heard in sometime. Fear of the Dawn is a potential masterpiece, in all the messiest and most puzzling ways. But aren’t those usually the best and most fascinating kinds? (April 2022)
23) Shovels & Rope- Manticore
My favorite couple in all of roots music launches their sixth proper album in the sensational, ramshackle fashion that they’re beloved for with lead single, “Domino”, a glorious batch of country, folk, and rock & roll delivered at a rapid-fever, punk-infused pace. It’s the deliciously diverse stylistic palate that has made the husband and wife duo of Michael Trent and Cary Ann Hearst one of the most reliable musical acts of the past decade. It’s a high bar to set at the onset of a project, but that lofty standard was already looming over their heads, thanks to an impressive run of vibrantly rustic and soulful albums dating back to their masterful 2012 breakthrough, O’Be Joyful. Manticore proves to have no issues matching that greatness, revealing another gripping body of songs that radiate with the duo’s signature brand of raw, honest lyrics married to the uninhibited chemistry and vocal magic created when they sing together. Case in point: the soul-wrenching show-stopper,”Bleed Me”, a perennial album highlight that is absolutely tear-inducing in all of its raw, unfiltered expression. It stacks up against any of the great, classic male-female duets from the early days of American music. That intangible dynamic is a thread through the entire record, which boasts some of their deepest and best-written compositions to date, with socially conscious narratives like “Collateral Damage”, “No Man’s Land”, and “Divide & Conquer” chief among them. Manticore is one of those well-rounded, passionate albums that checks off every box for the listener: it’ll make you smile, make you cry, and sing along to every word with rapturous, joyful release. So, basically, everything we’ve come to expect from Shovels & Rope. (February 2022)
22) Tami Neilson- Kingmaker
Tami Neilson records are like a stick of dynamite (in fact, that was even the title of her 2014 breakthrough album). The sixth studio release from the earthquaking country/rock/soul/blues/everything-in-between singer is no different, though it takes a notable detour stylistically from many of her more recent albums. This is the most ballad-heavy release of hers to date, but they pack just as prominent a punch as the rapid-fire rockabilly-tinged romps that have formed her most memorable performances to date. They’re also the ultimate showcase for the magnificent reach of her enormous vocal range, which is absolutely spell-binding within the country-noir stylings of chilling tracks like “Baby You’re A Gun”, “I Can Forget”, and the biting title track. There are moments within these performances that find me regarding her as arguably the most expressive vocalist I may have ever heard. Her deliveries are that alarmingly great. The often-cited comparisons to similarly stylish powerhouses like KD Lang and Neko Case come to mind again here, and on the straight-up country of the Willie Nelson duet, “Beyond the Stars”, you’re left imagining this was what it would have sounded like if Patsy Cline had invited Nelson to join her in the studio on “Crazy”. However, like all of those aforementioned predecessors, Neilson possesses a sound and quality to her voice and music all her own, and it’s an awesome experience to behold. For those veteran Tami fans savoring a hit of her more fiery, rafter-shaking up-tempos, you’ll still find plenty of consolation in cuts like the zooming and bitchy “Mama’s Talkin’”, the swampy country-blues of the Bobbie Gentry-recalling “Green Peaches”, and the thunderous “Careless Woman”, which even finds her sprinkling some Hip-Hop leaning phrasing into her classic honky sound. All of these diverse stylings and touches make Kingmaker one of the most adventurous releases in both this year’s roots music scene and Neilson’s own catalog. But this is above and beyond anything a true singer’s album, and a stirring showcase of one of the truly singularly powerful and emotional vocalists in all of music. (July 2022)
21) Banditos- Right On
The third album from roots music favorites Banditos is the official gateway drug to one of my most joyously rewarding musical discoveries of 2022, and it should be yours too. Lead vocalist Mary Beth Richardson is a gloriously menacing force to be reckoned with, possessing a magnificent range, both emotively and stylistically. Residing in her vocals you will find all the rich qualities of timeless American sounds, from classic rock & roll and traditional country to gut-wrenching soul and growling blues. The crackling band of musicians which surround her likewise possess that dazzling depth, and support their leader with a delicious musical sphere where everything from banjos to brass sections nestle next to one another. This combination colors this batch of ten songs with vivid color, vigor, and passion. The majority of them are ravenous rave-ups, with tracks like “Time Wasted”, lead single “On My Way”, “Deepend Weekend”, and “Said and Done” packing a particular tasty wallop and leaving you jonesing for a ticket to their live show. But it’s on the rare moments where Banditos tempers the pace a bit, such as the plucky closing folk song, “Ozone”, or especially on the sultry slow-burn of “One More Time”, where the group and Richardson in particular really unveil new heights to their gritty, mystical magic. On the latter, they sound like the heirs to the throne of Margo Timmins and Cowboy Junkies. Right On is a superb, sizzling affair from top to bottom. Excuse me while I go devour the rest of their catalog… (May 2022)
20) Miranda Lambert- Palomino
The ninth studio offering from mainstream country’s troubadour superstar is one that is loosely conceptual in nature, with Miranda Lambert serving as a tour guide throughout the American landscape from the lens of a roaming musician addicted to the road and the people and stories she encounters along the way. It’s a tone she sets in fantastic fashion with the swamp-meets-surf opener, “Acitin’ Up”, which encourages this restless lifestyle and the saucy behavior it lends to. This spirit carries through in plenty of standout moments throughout Palomino, from “Scenes” and “Tourist” to “Music City Queen” and “Wandering Spirit, two tracks that find Lambert exploring her rock side, with the former featuring guests The B-52s while the latter is a Mick Jagger cover. In between, she bestows us with full-blown studio versions of highlights from her 2021 side-project, The Marfa Tapes, on “In His Arms”, “Geraldene”, and “Waxahatchee”. Her core country sound still remains the bedrock of the collection, as evidenced by the hit “If I Was A Cowboy”, “That’s What Makes the Jukebox Play” and the stunning circus-themed closer, “Carousel”. That album finale easily ranks among one of Lambert’s finest recorded moments across her nearly two-decade career, brimming with her trademark sincerity and emotive lyrical power. Sung from the perspective of a former big-top star mourning that lifestyle’s romance and spotlight, it’s a heart-tugging story song that Lambert masters better than anybody working today, and one that certainly many faded stars and broken hearts can relate to: “Every show must end/Every circus leaves town/You don’t know the magic’s gone/Until the lights go down.” (April 2022)
19) The Weeknd- Dawn FM
Following recent COVID-era trends, The Weeknd dropped his fifth album, the follow-up to his iconic 2020 commercial behemoth After Hours that would have certainly warranted an enormous amount of blockbuster promotion, without any advance warning at all. That element of surprise only intensified the excitement surrounding a release that will carry a buzz that will be difficult for any 2022 pop release to match, regardless of the roll-out. Dawn FM proves to be a compelling, slightly complex-leaning album. The title is an obvious nod to its role as the fall-out from After Hours, with it’s opening sequence directly referring to itself as a retreat from a darkness that’s been resided in for far too long, a proclamation that takes on even greater meaning in decade which has seen its first two years crippled by the isolation caused by a worldwide pandemic. That whole promise however proves to be rather ironic, and often-times empty as the record progresses. We should’ve known; this is a Weeknd album after all, where every hypnotic melody, soaring vocal and irresistible dance beat is inextricably linked to an undeniable mood of loneliness, uncertainty and even devastation. And that’s precisely when the Weeknd is at his best. Thumping romps like “Take My Breath” and “Sacrifice” are scorching pieces of pop fire. “Out of Time” is arguably his greatest vocal performance to date on a track that is gorgeously scarred with regret and an appreciation for a lover that comes far too late. Meanwhile, romantic complications take even more ominous and paranoid tones of despair on heartbreak-laced tracks like “How Do I Make You Love Me”, “Is There Someone Else”, and “Don’t Break My Heart”. All in all, Dawn FM proves to be a worthy sequel to such a lofty predecessor. As an overall body of work, it may in actuality be an even more cohesive and captivating set, chalk-full with as many seductive melodies, magnetic vocal turns, and evocative moments as anything the Weeknd has recorded to date. An emotional, moody and alluring thrill ride at every turn, it started off the pop year of 2022 in enormous fashion. (January 2022)
18) Spoon- Lucifer on the Sofa
For the creation of their tenth long-player, frontman Britt Daniel led Spoon back to its origins in Austin, Texas to create Lucifer on the Sofa, the long-awaited follow up to 2017’s critically acclaimed Hot Thoughts. Given the subtle experimental nature of that predecessor, and the fact that this marks their first recording session in Austin in over a decade, it’d be easy to label this a “back-to-basics” effort. However, that would be to suggest that Spoon ever deviated that far from their straight-forward, unadulterated rock-driven roots or sound to begin with. They’ve remained consistently bound by a pure rock spirit throughout their entire career, and Lucifer only further extends that lineage within their discography. I’ve said it before, but it’s so true in today’s modern era of digitized studio sessions and cluttered production: it’s positively soul-cleansing to hear an album so anchored by classic guitar riffs, and this remains one of Spoon’s strongest suits. It’s fantastic to listen to an album that is unapologetically rock, without any signifier, asterisk or sub-genre tag lingering in the background. The instrumentation here is so full-bodied and crisp, Daniel’s vocals so passionately human, and the songs are similarly outstanding. The title track in particular is the making of a modern classic: a painfully sad tale about the process of having to mourn a loved one while they’re still alive, but no longer living. (February 2022)
17) Maggie Rogers- Surrender
A slew of world-changing events separated the release of Maggie Rogers’ first and second proper LPs, and while Surrender certainly evokes plenty of the emotions that arose during the COVID-19 pandemic, the album boasts just as much confident resolve and conviction as it does contemplation and uncertainty. No, Rogers doesn’t know what the future holds for the world we live in, or for the relationships she examines in these songs. She instead presents them with an unbridled sense of where she wants them to go and the non-negotiables she won’t waiver on as she trudges forward. Tracks like “Overdrive”, “That’s Where I Am”, and “Anywhere With You” make it clear where she currently stands with her emotions and intentions, and while she wants more than anything to feel them reciprocated by her partner, you’re still left with a sense that she will accept and carry on resiliently regardless of the outcome. The elegantly urgent and marvelously delivered “Horses” feels like the fever pitch of that explosive feeling of a crossroads in a relationship. It’s clear how badly she desperately wants to walk that journey with her lover by her side, but it’s never a sign of weakness or compromise on her part, yet rather a symbol of strength in being that vulnerably honest and raw with another person. The stripped and stirring finale, “A Different Kind of Girl” is most potent however given that it transitions to addressing issues on a global scale. Once again, Rogers knows what the true solution is (kindness and decency); it’s just a matter of who will join her in that mission. Sonically, the record is just as captivating as it is emotionally and topically. Rogers employs a wall of thunderous sound that pulls from a well of genres spanning electronica, alternative, folk and pub-rock (Spoiler alert: “I’ve Got a Friend” is a sterling highlight where these two sounds intersect beautifully). But it’s the undeniable anthemic pace, thumping production, and unrelenting hook-laden nature of the affair that defines this album at the core as unapologetically pop. Pop music for adults that is, which is of course a crucial and rewarding distinction to discern. It’s often incorrectly dismissed in today’s music climate that hooky soundscapes and intelligent composition don’t mix, but that’s often when both qualities are most powerful. On this masterful sophomore effort, Maggie Rogers further establishes herself as a vibrant leader in this theory, yet another important cause she shall continue to contribute to in critical fashion. (July 2022)
16) Marcus Mumford- Self-Titled
As the bandleader of Mumford & Sons, and subsequently one of the leading voices of the folk-rock revival of the 2010s, Marcus Mumford long-ago established himself as one of the true generational artists of our time. With his first-ever solo effort however, he takes both the honest nature of his songwriting, and the gravely passion of his voice, to personal heights that simply could never be contained within the confines of his band. Self-Titled is brutally painful in the fearless and unlimited nature with which it excavates the most crude and disturbing moments of Mumford’s personal journey. There’s very little of the redemptive jangle that permeates his band’s biggest moment to be found (with the exception of gritty but celebratory”Grace”, which is most certainly a soaring highlight). Weak-hearted listeners may not be able to even make it past the first verse of lead single “Cannibal”, a naked and viscous indictment of Mumford’s childhood abuser that leaves no scar left unexposed. For those of us that feed off the most unfiltered art and power through however, you’re rewarded with a richly revealing piece of art that not only exorcises the pain, but heals it for the future. Further tracks like “Better Off High” grapple with the cures for our pain, both genuine and demonic, while ripping moments like “Only Child” examines how the pasts of our parents inform and tamper with our most important relationships in the present. And while none of his bandmates show up here to provide any support, guests like Phoebe Bridgers (“Stonecatcher”), Clairo (“Dangerous Game”), Monica Martin (“Go In Light”), and Brandi Carlile (the finale, “How”; hearing these two harmonize against just an acoustic guitar is mesmerizing) add plenty of depth and gorgeous harmony that further accentuates the emotive power within Mumford’s signature rasp on these personal battle cries. All in all, Self-Titled is, as any side solo project should be, beautiful and fruitful in new and beautiful ways that sets itself apart from the rest of its artist’s band-driven catalog. Mumford’s voice and muse still offer all of the powerful qualities that have always spell-bound listeners, but it’s cast here in a light that’s wholly unique. Rightfully so for a project so intimately personal and raw. (September 2022)
15) Nikki Lane- Denim & Diamonds
With her trademark firecracker twang and zero tolerance for bullshit, Nikki Lane’s fourth album roars in your face in all the fabulous ways its three predecessors did. But by swapping former producer Dan Auerbach (The Black Keys) for Josh Homme (Queens of the Stone Age), there’s a notable spark of fresh influence that only further expands her unapologetically honky Americana sound into a grander sound that pulls as much from rock attitude as it does country sass. Her thick Southern drawl remains as tailor made for the fuzzy, thunderous guitars and crashing percussion of cuts like the title track, sizzling single “First High”, “Black Widow” and “Born Tough” as it does the weepy reverb and steel of “Faded” and “Live/Love” or the breezy acoustics of “Good Enough”. She continues to blend influences like the on-the-nose songwriting of Lucinda Williams, the vocal country wallops of Loretta Lynn and Neko Case, and the dizzying cowpunk stylings of Maria McKee. And just like those women before her, Lane’s courage to wear her heart on her sleeve even in life’s most doubtful moments only speaks further to the strong emotional bedrock of her artistry. She’ll help you work up the nerve to take no prisoners from those that have done your heart wrong, but also won’t let you off the hook in terms of getting in your feelings either, mustering the nerve to nurse them from devastation to retribution. Denim and Diamonds is another undeniable country-rock jewel from one of this era’s most authoritative talents. (September 2022)
14) Lizzo- Special
The fourth studio effort from superstar singer-rapper Lizzo comes in hot, and precisely on brand with her trademark wit, spunk, and common-woman relatability. On the opening lines of the album on “The Sign”, she trumpets: “Hi motherfuckers, did you miss me? I’ve been home since 2020. I’ve been twerking and making smoothies, it’s calling healing. And I feel better since you seen me last.” Yes, Lizzo we missed you immensely and when you’re feeling better, we all feel better, thanks to the infectious and inspiring spirit of your music. Those qualities flow radiantly throughout Special, which proves to be positively stacked with pistol-hot romps and empowering anthems, from the disco-doused smash “About Damn Time” and the pulsating pop power of “2 Be Loved (Am I Ready)”, to the uplifting statements of communal pride and inclusivity like the title track and “Everybody’s Gay”, and then the pure, unadulterated fun of sizzlers like “I Love You Bitch” and “Birthday Girl”. Elsewhere, she puts her soaring pipes and knack for slower-burning R&B to marvelous effect on moments like the on-cue raciness of “Naked” or on boldly confident pieces like “Break Up Twice” or “If You Love Me”, all tracks that prove once again that few female acts can more effectively solidify their agency on issues like body-image, self-care, and emotionally abusive relationships. Stylistically, pop, funk and dance are the central sounds of Special, more so than any other previous Lizzo LP; though she dips back into her Hip-Hop roots deliriously on the Beastie Boys sample, “Grrls”, only to turn around and similarly lift the alt-rock canon of Coldplay on the titular finale track. These flourishes once again illustrate that Lizzo’s sonic palate is as diverse and inclusive as the subject matters, and subsequently the listeners, of her songs. She’s truly emerged as a spirit-animal and beacon of light for a wide array of individuals, and Special offers a little bit of everything for everyone, regardless of their background or the nature of the personal journey they’re presently on. (July 2022)
13) LeAnn Rimes- God’s Work
It took LeAnn Rimes nearly a decade for her artistic vision and narrative voice to match the hype and acclaim bestowed up on her once-in-a-lifetime pipes at the tender age of 13. And the fact that she ultimately reached those heights of greatness while still in her early 20s is further testament to her unique gifts. The fact that her blossoming as just as powerful a singer-songwriter as a vocalist coincided with her final few years of chart success has resulted in the rather well-kept secret that her true legacy lies in her post-mainstream projects. And that legacy only grows stronger with the release of her fifteenth full-length, God’s Work. It’s not the full-blown gospel record that its title suggests, but rather a spiritual reflection on the journeys and challenges that our hearts, spirits, and souls experience through the relationships and destinies that we chase in life. It launches in bold fashion with the Bowie-channeling, “Spaceship”, an epic wonder of a song and performance that may very well be Rimes’ most impressive moment on record, ever. It’s a high bar to set for an album, but Rimes matches it with a collection of soul-stirring songs and majestic vocals and production throughout. Her soul-searching takes her through a wide spectrum of sounds and collaborations, ranging from reggae (“The Only” featuring Ziggy Marley, Ledisi and Ben Harper), soulful balladry (“How Much A Heart Can Hold” and “I Do” with Aloe Blacc), stomping Americana (“Something Better’s Coming” and the title track with Robert Randolph, Mickey Guyton, and Tata Vega) and world (“Throw My Arms Around the World” and “The Wild” with Sheila E. and Guyton again). Rimes’ heartfelt sense of humanity, inclusivity, and compassion is the bold thread tying all of these disparate elements together in one, beautiful body of work. You need not be a man or woman of faith to fully appreciate the masterful music LeAnn Rimes has crafted here, which is destined to mark another peak moment in her sprawling catalog. (September 2022)
12) The Black Keys- Dropout Boogie
After taking an authentic and rewarding detour through the classic hill blue songs that have always lied at the very roots of their modern blues-rock sound on last year’s Delta Kream, The Black Keys quickly return with their latest proper album, and the scorching Dropout Boogie aptly lives up to its billing. In many ways, initial singles “Wild Child” and “It Ain’t Over”, as well as the remaining songs which surround it on the album, feel as connected to the mainstream coming-out party that was 2011’s El Camino as anything that they’ve released since. These are thick, fiercely blues-tinged rock tunes filtered through a subtle filter of accessibility that makes them easy to digest on mainstream radio, while still greasy enough to please the strictest Keys purists. Like the majority of their LPs, Boogie is economic, efficient and courteous of the listeners’ time, clocking in at just over thirty minutes. Per usual, the duo packs within that strict timeframe a heaping helping of classic Keys moments that leaves us hungry for seconds. Dan Auerbach’s oozy blues moan remains a wondrous treasure within modern rock, with “How Long” being a premier showcase specifically. Meanwhile, for those coming first and foremost for those thick and infectious BK guitar riffs, look no further than the brooding “For the Love of Money”, the chugging “Burn The Damn Thing Down”, and “Good Love”, which treats us to a rip-roaring Billy Gibbons guest spot. (May 2022)
11) First Aid Kit- Palomino
The Swedish sisterly duo of Johanna and Klara Soderberg returns with their fifth record, and first since 2018’s Ruins, with their trademark exquisite harmonies and lilting folk sound feeling just as aurally captivating and thematically stirring as it was the first time we heard their singular vocal blend. Their crystalline voices and the hair-raising force they create when merged together just seem to effortlessly float within the universe around us. It’s as if they’re one of those miraculous natural forces, like the wind, air or water. They’re wondrous and mysterious, yet we take their existence for granted and only really appreciate them when we slow down and really give them the focus they warrant. Like each of the four preceding albums in their catalog, Palomino is certainly worthy of such attention and reflective focus. New producer Daniel Bernston quickly proves that he’s smart enough to not get in the way of the Soderbergs’ immense talents, but also has the good taste to subtly dabble with their well-crafted folk bedrock, whether it be via the swirling power-pop of the excellent opener, “Out of My Head”, the clapping pace of “A Feeling That Never Came”, or the chugging rock bass and guitar lines of the title track and “Fallen Snow”. These slight touches all provide decadent evolution and variety to the duo’s overall palate, without ever sacrificing the roots that they’ve proudly celebrated since their 2010 debut, varied cosmic rock and country influences like Gram Parsons who once again receive a nice nod in the lilting storytelling of “Wild Horses II”. And while it’s once again far too easy and tempting to get absolutely lost in the aural sound of the proceedings, it’s important to not overlook their sharp and profound storytelling observations of the overall life experience, particularly under an updated 2020s lens. Singles like the earlier mentioned “Out of My Head” and “Angel” starkly document the inner battles that one faces with their own self-sabotaging doubts and anxieties, pushing toward triumphant perseverance without ever downplaying the crippling struggles that always remain in the background. Their ultimate power may continue to lay however in the way they so elegantly frame the complex elements of romance and relationships on lush, string-soaked diamonds like “The Last One” or “Nobody Knows”. Don’t you dare finish up your year-end best of retrospectives without making room for this stunning jewel of a record. (November 2022)
10) Taylor Swift- Midnights
The release of Taylor Swift’s tenth studio record is a monumental event for far more than the obvious fact that it’s the latest release from the biggest pop star and most prolific mainstream songwriter of the current moment. Midnights also represents a pivotal and anticipatory moment in the creative arc of the icon’s career thus far. Her next stylistic direction is a major question mark as she follows up her twin set of pandemic albums (2020’s Folklore and Evermore), which saw the inspiration of quarantine shift her away from her more recent bedazzled pop past toward a spectacularly gloomy alternative sound. The overall tone of Midnights doesn’t really sway that aggressively back in either direction, but rather paves down a new path that splits the difference while also exploring another mix of stylistic tricks. This record is without question her moodiest to date, as she and co-producers Jack Antonoff and Aaron Dessner soak these mysteriously introspective tunes in a heavy layers of synth and a coat of R&B inspired bedroom pop. It proves to be a sound very well suited to Swift at this point in her narrative and sonic journey. Her vocals are divine throughout, and the night-struck tone of the production is the perfect setting for her unpacking of all the topics that keep one up a night. This exercise finds her exploring everything from general anxiety and the self-destruction of our own value (“Anti-Hero”) and reckoning with the end of one’s youth (“You’re On Your Own, Kid”) to the refuge we find in our current relationships (“Lavender Haze”, “Snow On the Beach”, and “Sweet Nothing”) and of course, the regrets we’re left with in the aftermath of our past ones (“Question…?” and “Midnight Rain”). And while the moody tones and muted tempos of the record may make the ear-worm moments less obvious, rest assured that they’re here. They’re just more subtle and sly in presentation and sequence, which ultimately makes them all the more rewarding. For instance, the hook of “Anti-Hero” is in all actuality one of the most infectiously biting of Swift’s entire canon, a fact that only grows over time. Meanwhile, the sparkling “Bejeweled” and brash “Karma” up the pop bark of the album considerably, tipping its hat to the 1989 glory of the past, while remaining ever-present in the atmospheric theme of the overall album. And ultimately, it’s that key ingredient that continues to make each progressive entry in Swift’s catalog so continually satisfying: her unmitigated and masterful ability to continually evolve stylistically while still keeping her keen pop charisma and her sharp lyrical craft front and center, regardless of the sonic trappings that surround them. Midnights is another impressive entry in what continues to prove itself as one of the most captivating and vital album catalogs across of any era or genre. (October 2022)
9) Amanda Shires- Take It Like A Man
It takes but one crashing lick from the threatening, garage-inspired guitar solo that sets in motion “Hawk for the Dove”, and Amanda Shires’ seventh LP as a whole, to realize that Take It Like A Man will be unlike any other experience in Shires’ preceding catalog. As one of Americana’s undeniable queens, her sweet and angelic mountain voice and exquisite instrumental talent has earned her well-deserved comparisons to icons like Dolly Parton and Alison Krauss. But throughout this latest outing, we’re treated to the deliciously more devilish side of those pipes, as Shires continues to push her roots-based blend of country and folk down a darker, more rock-oriented avenue. With new producer Lawrence Rothman at the helm, and husband Jason Isbell (a blurrer of the country-rock lines himself) always nearby on guitar, it’s no surprise that Shires handles these adventurous stylistic travels remarkably. But make no mistake, Shires is her own creative compass and authority. That sentiment is ferociously underscored by the fierce POVs found throughout tracks like the title cut, the slithering rock-romp “Here He Comes”, and “Bad Behavior”, a sly and unsympathetic gaslighting of a male suitor. Her lyrics and vocal nuances may bite more bitterly than they ever have before, but they’re also still as capable of wrenching your heart to pieces as well. This is beautifully evidenced by stunners like “Empty Cups”, “Fault Lines”, and the one-two punch of the bold neo-soul numbers, “Stupid Love” and “Lonely At Night”. Throughout all the heartbreak, betrayal, and missteps that Shires encounters in these little life portraits, her independent spirit and feminine agency remains unflappable, and that’s never more evident than on the roaring, near New-Wave fever of “My Galaxy”. It’s the exclamation point on an album that serves as a powerful declaration that Amanda Shires has officially taken form as the unpredictably fierce and fearless artist that she has always been destined to become. Take It Like A Man not only serves as her best and most awe-inspiring album to date, but it undoubtedly feels like the turning of a page into a promising new chapter with limitless possibilities. (July 2022)
8) Red Hot Chili Peppers- Return of the Dream Canteen
Arriving just six months after Unlimited Love, which marked the end of a six year drought in their recorded output, the Red Hot Chili Peppers’ thirteenth long-player emanates from the same sessions as its predecessor, sessions that not only benefited from the abundance of time afforded by the COVID-19 pandemic, but also played host to the return of longtime producer Rick Rubin and guitarist John Frusciante. As already evidenced on Unlimited Love, these qualities translated into vibrant results on record, announcing a new era in the Peppers’ long history that can’t help but feel full of a rejuvenated energy. And while they may have shared a womb, Unlimited and Return of the Dream Canteen more than stand on their own as distinct, independent, and undeniably marvelous bodies of work. Launched by the exhilarating and anthemic fire of lead single, “Tippa My Tongue”, this project has a decidedly less brooding and more raucous temperament than tracks like “Black Summer”, and that thread carries through on tracks like “Peace and Love”, the breezy and brassy funk of “Bella” or the dreamy synth of “My Cigarette”. That’s not to suggest that Canteen is lighter in fare; there’s just a greater sense of renewed release floating on the surface of the slightly more jam-based ambience to the overall record. The project certainly boasts plenty of the epic rock showstoppers that have been staples on all of the band’s records: chief among them being the cinematic Van Halen tribute track, “Eddie”, the soulful uncertainty of the partial spoken word in “In the Snow”, and especially the hypnotic and almost meditative balladry of “La La La La La La La La”, truly one of Anthony Kiedis’ most dynamic vocal renderings. Meanwhile, the overall sound of the record is just so damn good. While it’s true that there’s never really been a bad-sounding Peppers record, this album further solidifies the sentiment coming out of the Ultimate Love release that the band just sounds at their absolute best with Rubin at the helm. Every vocal and instrumental moment is maximized to its fullest emotional impact, which is equally as evidenced by Frusciante’s guitar solos as it is Kiedis’ vocals. The returning guitar hero is truly provided with the level of material necessitated by such a prominent return, with the aforementioned “Eddie” appropriately serving as the most tantalizing. This is the sound of a band of living rock legends still very much on top of their game, both technically and creatively, a full thirty years beyond their commercial breakthrough. And that my friends, is an immensely unique and rewarding gift that we as music loves should be passionately relishing in the present moment. (October 2022)
7) Red Hot Chili Peppers- Unlimited Love
The twelfth studio album, and first since 2016, marks two pivotal returns to the fold of Red Hot Chili Peppers. First, long-time producer Rick Rubin returns to the helm after sitting out that aforementioned predecessor, The Getaway. Even more significantly, Unlimited Love marks the return of revered guitarist John Frusciante after a decade absence from the band whose sound he helped define during their commercial peak. It’d be false to say that these returns are a revitalization for the band, given that the Peppers have remained one of the rock world’s most reliably consistent groups across their entire career. But, one can’t help but feel an added spark of electricity from the moment the record commences with lead single, “Black Summer”, an immediate entry in the Peppers’ upper-echelon of epic singles, and a glorious showcase for both Frusciante’s unmistakable guitar work as well as the legendarily expressive vocal work of bandleader, Anthony Kiedis. Like so many of the group’s greatest records, those two qualities remain the definitive, foundational pillars as Unlimited Love unfolds, revealing itself to be vastly deep well of powerful songs, with an emotional intensity only further elevated given the uncertain time of lockdown that it was crafted. This nugget should not cause one to mistake this as a quarantine record however. It’s one meant to be played loud and recreated in the same stadium setting that has transcended the band’s catalog to the stratosphere. It only takes one listen to instantly infectious jams like the brassy “Aquatic Mouth Dance”, rapid-fire “One Way Traffic” or the funk-roots revival “She’s A Lover” before you can already hear the live crowd coming unglued against Kiedis’ acrobatic vocal tricks, Frusciante’s virtuosic guitar wizardry, and of course Flea’s bass mastery. Once again, the Red Hot Chili Peppers’ have delivered electrifying and deeply resonant reminder of how great modern rock can still be. This is another excellent watershed moment in the Peppers pipeline, and one whose love most certainly deserves to be unlimited. (April 2022)
6) Harry Styles- Harry’s House
The crown prince of modern pop returns with his highly anticipated third studio album. If he’s feeling any overwhelming pressure or anxiety in terms of the challenge laid before him to match the enormous, blockbuster success of 2019’s Fine Line, it certainly can’t be detected on the surface of Harry’s House. This is the sound of a mature, confident and continuously evolving artist who is wholly comfortable in his own skin and steadfast in following his own creative vision. Everything on the record just seems to flow so organically and effortlessly; not a small feat given how truly elementally diverse it is as a whole. House is one of those layered and fully realized pop albums that we all salivate for: it’s fun and entertaining, but deep and emotionally resonant all the same. He provides some of the very best versions of his pop-funk brand to date with cuts like “Late Night Talking”, “Cinema”, and the deliriously weird opening number, “Music for a Sushi Restaurant”. And then he turns things on its head by moving inward to his more folk-tinged tendencies and it yields some fabulous results, including the gorgeously stripped “Matilda”, the tender “Boyfriends”, and the exquisite closer, “Love of My Life”. And then there’s the project’s first smash, “As It Was”, a record that masterfully retains the unique contagion of Style’s biggest earworms while pairing it with the most raw and bittersweet vocal performance of his career to date. It’s the ultimate gem of Harry’s House, which in its own right undoubtedly stands to be one of the true gems of 2022 popdom. (May 2022)
5) Zach Bryan- American Heartbreak
In a move that may come across as everything from brilliant and ballsy to arrogant and ridiculous, Zach Bryan launches the major label era of his career with a whopping triple album, spreading across thirty-four songs. But here’s the truly impressive thing about the daunting American Heartbreak: it’s absolutely worth exploring every moment gifted us here from this excellent singer-songwriter, who suddenly emerges as talent with the potential to be one of the truly generational and game-changing creative forces of his time. This album is a tremendous gamble, and it pays off in droves. Bryan displays a resume brimming with soulful vocal performances, a showman’s presence, and a guttural lyrical gift that immediately positions him as an artist who could easily join an artist like Chris Stapleton in bridging that gap between the mainstream sphere of modern country-rock royalty like Eric Church and the Americana gloryland of poetic geniuses like Jason Isbell. From the opening line of this opus, “I heard life is what passes when you’re too busy living, and love is at its finest when times are hard”, we’re instantly put on notice that something truly poetic and prolific is about to unfold. And as one stellar song after another introduces itself (there are far too many highlights to thoroughly highlight, but “Late July”, “Something In the Orange”, “Heavy Eyes”, “’68 Flashback”, and “Sober Side of Sorry” are my favorites at the moment), that premonition becomes reality. It matters not whether Bryan is being supported by a rollicking sea of electric guitars or merely a harmonica, he emotes his lyrics in a way that makes the listener feel like he’s speaking only to them, and like you’re experiencing what he’s signing about together, side-by-side. He actually manages to leave you wanting more after six sides and thirty-plus tracks. American Heartbreak is one of those rare musical triumphs that emphasizes what an important art-form the creation of records truly is. A future classic without any question. (May 2022)
4) Orville Peck- Bronco
His 2019 debut album and its 2020 follow-up EP established Orville Peck as definite worthwhile curiosity within the country and Americana music scene, what with his campy masked persona, chilling cover of Reba McEntire’s “Fancy” and that game-changing collaboration with Shania Twain. This excellent sophomore album however deserves to put Orville Peck on a completely new trajectory, as one of American music’s most creatively vibrant new artistic forces. Pure and simple, Bronco is a startlingly rewarding and vibrant revelation of a record. Every moment of it is expertly sung, written, arranged and produced. Peck’s rich, brooding vocal range has garnered plenty of attention from the get-go, but the material and stylistic choices that abound throughout this record shine glorious light on the fact that he may the most powerful male voice, both physically and creatively, to emerge in any genre in a decade or more. Acclaimed producer Jay Joyce proves to be a perfect stylistic compass for Peck as the pair effectively color their traditional and California country inclinations with ravishing dashes of everything from 60s pop and 60s countrypolitan to rapid-fire rockabilly and Western noir. But like any classic album, it’s the remarkable song-to-song consistency of the set that really makes Bronco such a rewarding wonder. It’s difficult for me to select which songs to point out in this review, so I’m simply not going to name any. And that’s the true song of a great album. They’re all fucking fantastic. And yes, I realize that sounds more complimentary and gushy than any credible music writer should, but that’s just how damn good Bronco is. (April 2022)
3) Beyonce- Renaissance
The long-awaited follow-up to Beyonce’s 2016 Lemonade, an undeniable pop culture landmark, is every bit the epic release that we all knew it needed to be. Throughout Renaissance, the pop and R&B icon crafts a bold and far-reaching record that, with its vivid elements of disco, house, funk, Hip-Hop, drag, and ballroom culture, plays like an anthem of survival and resilience for all of America’s most under-appreciated cultural contributors. The superstar has been a proud flag-bearer for these causes both in and outside of her music her entire career, and she establishes right out of the gate that she’s only going to be intensifying those efforts with the tone of “I’m That Girl”, which can only be described as an opening statement rather than a mere song. What’s most tantalizing about Renaissance as a whole however is that the sonic backdrop to these socially conscious moments provides the most addictive and accessible arrangements that she’s graced us with ages. These tracks sound as destined for mass airplay and dance floor domination as anything she’s unleashed since 2011’s 4, but do so without pandering to the pop or R&B radio trends of the day. They retain the progressive experimentation of her latter day work, but insert a heavy helping of irresistible beats and hooks, with the emphasis on influences stemming from the heyday of house music, which colors a endless barrage of anthems (“Cozy”, “Alien Superstar”, “Cuff It”, “Pure/Honey”, “Summer Renaissance” and the album centerpiece, “Break My Soul”) that comprise some of the most electrifying moments of the singer’s monumental career. It’s that sub-genre’s prominent positioning on the fabric of the record that proves to be the true renaissance of the project. Meanwhile, guest appearances from artists like Grace Jones, and samplings from the likes of Big Freedia, Robin S., Right Said Fred, Kevin Aviance, Donna Summer, and Kelis only further elevate the blockbuster feeling of the record. All in all, Renaissance immediately pronounces itself as a pivotal and supremely entertaining record from one of the music world’s most important modern voices. (July 2022)
2) Dawes- Misadventures of Doomscroller
Folk-rock journeymen Dawes launch their eighth studio album with an epic nine-minute vignette (“Someone Else’s Cafe/Doomscroller Tries to Relax”) that boasts one of Taylor Goldsmith’s finest vocal performances since the inception of the band a dozen years ago, as well as what I’m convinced will prove to be one of the very best instrumental performances of the 2020s, thanks to Goldsmith’s sizzling guitar grooves, brother Griffin’s virtuosic drum wizardry, and Lee Pardini’s emotive piano finale. In addition to being one of this era’s most delightfully unconventional singles, it’s an instant masterpiece (I mean, my God, that fucking transition between sides is so gorgeously moving), and sets the tone for what will be the band’s deepest dive into prog-rock to date. Dawes had already proven they could capably dabble in that arena back on 2015’s excellent, All Your Favorite Bands, but there’s no denying the impressive growth they’ve experienced since. As the record progresses through more standout moments, including “Comes In Waves”, the pandemic rumination “Everything Is Permanent”, and “Joke In There Somewhere”, I have flashbacks to my childhood and my dad playing similarly progressive, artful records by bands like The Beatles, The Moody Blues and The Who. That the spirit of these sorts of cinematic rock themes and experimental stylistic structures sound simultaneously classic and fresh today is an equal testament to the timelessness of those influences, as well as the intelligent and tasteful quality of Dawes’ music. And while it’s easy to become so fixated on the thoroughly excellent singing and full-blow jam-band showcases that consume this entire album, you can’t lose sight of this band’s ever-soulful pen. When Goldsmith muses on the opener that we should “enjoy each other’s company on the brink of our despair“, there’s no question about the times this album was birthed in, or about how raw the entire experience still feels. Dawes has already released a laundry list of fantastic rock records, but Misadventures of Doomscroller feels like their new watershed moment to me, and one for the modern rock universe as well. (July 2022)
1) Lucius- Second Nature
Over the past decade or so, Lucius (led by co-founders and harmonic wonders Jess Wolfe and Holly Laessig) has quietly risen to become one of the most formidable creative forces outside the mainstream of American music, as well as one of the most in-demand collaborators, appearing on records by everyone from Harry Styles to Nathaniel Rateliff, and seemingly all others in between. Despite building this massive resume and critical acclaim, they’ve yet to achieve the type of widespread attention that their talents certainly warrant. Second Nature, their fourth album, undoubtedly is worthy of making that a reality, and stands as their most wholly realized release to date. Lucius would be a dazzling act for their other-worldly harmonies alone; they’re positively to die for. The fact that the the sonic landscape they explore on their records runs as vast as those of the artist albums they’ve appeared checks another crucial box. This record spans everything from introspective folk and disco-fried rock to synth-soaked pop and fiery funk, and co-producers Dave Cobb and Brandi Carlile harness into a vibrant, cohesive palate. But what ultimately ties the bow on their entire repertoire is the narrative content and marvelous potency of their songwriting. These tracks pack a wallop sonically, vocally, and topically, and those are the three key ingredients to a great record across the board. It’s difficult to pinpoint precise highlights but I were to select two (Mom, can’t I have more!?), they would arrive on the earthquaking spectacle of “Dance Around It” and the guttural ache of the stripped “The Man I’ll Never Find”. On the former, which finds them joined by Carlile and Sheryl Crow, they mourn the loss of a physical connection in one’s marriage (I’ll just touch myself because I don’t want to f—“). Ouch. The latter is where the true pain of a failed relationship is particularly raw, where the narrator admits that they sunk their relationship by holding her partner to an impossible standard: “And I’m sorry, I was always looking for the man that I’ll never find. I thought I knew it when I looked you dead in the eye. Don’t want it if it’s easy, but I wish it was believe me“. Those cutting moments are emblematic of the musical power and staggering emotion that is across every second of Second Nature, a record that promises to be a zenith in the catalog of one of today’s most captivating bands. (April 2022)
Return to: Part I
The 706 