The 706 Digest: March 2023

Albums

Miley Cyrus- Endless Summer Vacation (Columbia)

As the latter half of the 2010s progressed, the levels of Miley Cyrus’ artistry slowly but surely caught up with the heights of her celebrity status, culminating with 2020’s banging pop-rock epic, Plastic Hearts, easily one of the pandemic era’s most sublime but underrated pop collections. Further harnessing that momentum as she launches her eighth studio album is the undeniable runaway-smash status of its first single and opener, “Flowers”, a smoky and infectious break-up anthem that pulls from all the vast influences littered throughout the self-professed musical chameleon’s catalog to date to form a bold and vibrant pop sound that is all her own. This confessional but bopping hybrid proves to be a foreshadowing and satisfying palate for the entirety of Endless Summer Vacation. Her radiantly raspy pipes showcase all of their guttural reach, whether it be on a passionate power ballad like “Jaded”, a gut-wrenching blend of folk and power pop on the Brandi Carlile feature “Thousand Miles”, or on the sweaty soul seduction of the gorgeous “You”, arguably her finest vocal to date. As promised during the promotion of the album, Cyrus dips back into the more dance-oriented nature of her sound as the record moves into its second act, but not without retaining all of the dark and heartfelt emotional soul of the LP’s first side. Addictive dance gems like the frenetic “Handstand” and the splashy, synth-soaked “River” offer sinister and infectious beats to backdrop as Cyrus proclaims her own sexual identity and independence, a sentiment that reaches a fever pitch on the thunderous, piano-driven Sia collab, “Muddy Water”, an absolutely delicious evisceration of a wandering lover. Meanwhile, the shimmering “Island” explores the constant life tussle between the emotional needs fulfilled by both independence and companionship, a rather sobering sentiment to explore in the aftermath of a romantic exorcism like “Muddy”. Finally, Cyrus brings the record full circle with the tender piano balladry of “Wonder Woman”, a reflective and resonant finale that poses a firm argument to my earlier case that “You” is Miley’s greatest vocal to date. It’s an adamant reminder that above all the personal and professional monickers that have tossed her way across nearly two decades in the public eye, Miley Cyrus is first and foremost a tremendous singer, and one who has glowingly matured into one of modern music’s most stunning and visceral voices. It’s that voice which is the constant thread through the journey that is Endless Summer Vacation, which confidently stakes its claim as a wildly entertaining and moving marvel from the canon of Miley Cyrus.

Lucero- Should’ve Learned By Now (Liberty & Lament)

The long-revered and rowdy Memphis favorites return with their twelfth studio album, and after a stretch of LPs that slanted ever so slightly in the more reflective direction both sonically and topically, Should’ve Learned By Now points the band back toward the harder and louder edges of their Southern Rock and cowpunk roots. And it does so rather emphatically with the aggressively booming guitar, generous cowbell, and the harsh, gruff growl that is lead vocalist Ben Nichols’ signature which positively explode from the speakers on opening cut, “One Last F.U.”, a bawdy and unrelenting barroom brawl account that plants Lucero squarely back in their most essential elements. This is jolting a rock adrenaline rush in all the classic rock & roll ways. It demands to be played as loud as your walls can possibly handle, and is likewise tailor-made for a rowdy live concert experience once its brought to life on the summer tour circuit. Singles like “Buy A Little Time”, the title track and “Macon If We Make It” are as exhilarating as any rock jam that I’ve heard released in the past decade, and further illustrate what an absolutely bad-ass guitar God the band has in Brian Venable, with the brilliant piano flourishes of Rick Steff proving to be his perfect foil. Those classic, emotional rock contradictions meanwhile become pure hellfire when filtered through Nichols’ chops, which have become only increasingly blood-curdling through the years, a trait as evident as ever when exhibited in the more pure punk spirit of this album. Conversely, his ragged voice is likewise as cutting as its ever been in the rare moments when the band does slow down the tempo, as on the shuffling, country-tinged loneliness of “Drunken Moon”, a moment where Steff’s piano magic also gets its ultimate showcase. Protests are likely to crop up as they wrap up the record with another more stripped moment on the accordion-driven “Time to Go Home”, not because of the heart-warming lane change in the album’s eleventh hour, but rather due to the fact that the eleventh hour has arrived at all. Should’ve Learned By Now zooms by thanks to its surging, electric energy and thus leaves the listener both euphoric but also desperately starving for more.

Macklemore- Ben (ADA)

Crafted in the aftermath of a relapse with his alcohol addiction that occurred during low-point at the height of the COVID-1 pandemic, it should come as no surprise that the third solo album from Macklemore is the rapper’s most personal to date. Without question, the titular Ben is truly a record of redemption in the wake of one’s most cripping self-destruction. This thematic tone is gorgeously established in the four-minute epic that is the opening track, “Chant”, a collaboration with indie-pop enigma, Tones & I. Like his moving 2013 hit, “Same Love”, “Chant” gloriously marries swirling Hip-Hop with pop-flavored gospel, all the while exposing the roller-coaster life that Macklemore has weathered since briefly emerging as one of pop culture’s buzziest names thanks to the runaway success of “Thrift Shop” a decade ago. That scrappy and powerful spirit of redemption and perseverance is a constant throughout Ben, which proves itself as a deep and multi-faceted collection of tracks that strikes a fully-formed blend of the raw ingredients that made his early music so intoxicating: undeniable rap dexterity, a goofy but charming sense of humor, and a bleeding heart that Macklemore was unafraid to wear on his sleeve. Whether it’s one of these specific qualities, or a combination, that initially drew you into Macklemore’s music, there is something here to sink your teeth into: full-fledged rap showcases (“Heroes” “Grime”, “Faithful”), reflective contemplation on matters both individual and cultural (“Day You Die”, “Lost/Sun Comes Up”, “God’s Will”), and unadulterated pop ear-candy (“Maniac”, “1984”, “No Bad Days”). And as is nearly a grand tradition on contemporary Hip-Hop albums, the number of collaborations is staggering, with an extensive roster of guests also including Collet, Windser, Sarah Barthel, DJ Premier, NLE Choppa, Livingston, and more. The most deliriously successful of them all proves to be the sheer bop bliss that is “Maniac” with Windser, which not coincidentally is the sole moment on the record featuring an appearance by his former marquee partner, Ryan Lewis as both co-producer and co-writer. It’s further evidence that Ben is an unabashed celebration and acknowledgement of Macklemore’s past, the highs and the lows, while also embracing the present moment and, as movingly espoused on album finale “Tail Lights”, a look toward the future with a mature sense of realistic optimism.

Nickel Creek- Celebrants (Thirty Tigers)

With another nine years and countless other projects having passed since 2014’s A Dotted Line (itself, an arduous nine years in the making), the spell-bindingly talented trio of Chris Thile and siblings Sara Watkins and Sean Watkins have gloriously bestowed upon us another return from Nickel Creek. And just as they did at the dawn of the new millennium, the band immediately restores one’s faith in the modern world’s ability to produce pure, authentic, magical musicianship. Celebrants immediately ranks with the lofty standards set by the group’s breakthrough trilogy of classics that included 2000’s self-titled, 2002’s This Side, and 2005’s Why Should the Fire Die, that A Dotted Line, while utterly pleasing, didn’t quite fully achieve. Across an ambitious collection of eighteen performances, they reaffirm their unabated respect for the tradition of bluegrass music, while marrying it with their signature forward-looking creativity and unrelenting thirst for artistic progression and reinvention. Gorgeously performed with the group’s sumptuously untouchable harmonies and their unmistakable instrumental dexterity, this music is as luminously moving and tastefully executed as anything you’ll hear on a professional recording all year. This troop of mind-blowingly prodigious youngsters have matured into three of America’s most imposing musical talents, across any spectrum or medium. Consequently, it’s no surprise that Celebrants excels as one of those rare records that is so seamlessly crafted and executed, that it’s difficult to discuss it as anything other than one comprehensive body of music. Nevertheless, like any classic of any measure, there are still undeniable highlights to pinpoint. Singles “Strangers” and “Holding Pattern” immediately rank among their most potent compositions, as they grapple with the wide array of personal and social reckonings offered by the COVID-19 pandemic that seem destined to lurk over society indefinitely. Fantastically searing tracks like “Thinnest Wall”, “Where the Long Line Leads”, and “New Blood” once again demonstrate that Sara Watkins’ hidden talents as one of modern music’s most commanding female dynamos only intensifies with each decade. Meanwhile, the sequence of music that spans “Goddamned Saint”, “”Stone’s Throw”, and “Goddamned Saint (Reprise)”, is as artfully expansive as anything produced during the height of 60s art-rock. Thile lands totally in his element here as a charismatic and peerless bandleader who, as always, approaches his music with an equal reverence for the raw energy of roots music and the sophistication of a classical orchestra. Smack dab in the middle is “Throw”, which (along with “Hollywood Ending”) is one of those unassuming and sly, folksy bulls-eyes from Sean Watkins, who again emerges as the band’s dark horse and its undeniable heartbeat. And just as you think this astute ensemble has afforded us every ounce of musical brilliance and inspiration that be mustered, they close one of the album’s most remarkable high notes with “Failure Isn’t Forever”, a gorgeously uplifting and emotional cinematic piece of hope and resilience: “Failure aren’t forever…unless they quit wondering how to get better.” Celebrants itself is anything but a failure, and it certainly stands to live on forever as another striking jewel in Nickel Creek’s esteemed catalog; this record is pure and distinguished art of the very highest accord.

The War and Treaty- Lover’s Game (UMG)

For half a decade now, The War and Treaty have reigned as a critical favorite in the Americana music scene, the kind of act gifted with such pure, raw musical talent that their loyal followers are constantly campaigning for the type of widespread attention that their music warrants. Naturally, they’re also the kind of act you feel will be mishandled under the guise of the mainstream machine once they land on their radar and under their clutches. Thankfully, the third proper album, and first major label release, from the Trotter couple quickly assures us that their special blend of country, soul, rock, and blues remains securely in tact despite their new connection with the Nashville recording system. Sure, there’s a slightly increased layer of Music City shine sneaking into the proceedings, but under the production leadership of the inimitable Dave Cobb and with the couple’s passionate artistic inclinations in full force, Lover’s Game is a wholly authentic, moving, and a natural continuation of the duo’s impressive discography. The vocal performances throughout comprise what will likely be the finest pure singing we’ll hear on a new release all year. Both Michael and Tanya are vocal powerhouses all on their own, and they sound absolutely destined to sing together, with the combination of their musical chemistry and palpable personal love for each other melding into what is a truly special sound and experience. And their affinity for the vast spectrum of American roots music is once again on full display across Lover’s Game. The title track which opens the set is an explosive cannonball of swampy rock & roll that instantly recalls peak Ike & Tina Turner, and sets a dynamic mark that they continue to meet throughout the entire record. They sing to the heavens with soaring gospel-tinged showstoppers like “Up Yonder” and “Have You A Heart”, and face demonic hellfire head-on with the gloriously ominous “Ain’t No Harmin’ Me”. And while R&B and soul power-tunes truly like “That’s How Love Is Made” and “Dumb Luck” definitely find them in their ultimate wheelhouse, they are just as naturally at home churning out a 60s-styled country weeper like the exquisitely aching “Yesterday’s Burn”. If there is any justice in the popular music cosmos, this will be one of those rare and rewarding occasions where the an act’s commercial profile catches up to the heights of their artistry, rather than the former having to make any sacrifices in exchange for the latter. Regardless, the War & Treaty are without question one of the most exciting musical forces on the scene today, and their work continues to prove itself as essential listening.

Singles

The Band Camino- “Told You So” (Elektra)

The Band Camino’s first proper single release in nearly two years is the classic example of a fairly pedestrian song on paper reaching an unearthed potential on record, thanks to a pulsating power pop-rock production, a palpable sense of sonic tension, and a personality-packed vocal. This one’s ripe for excessive spring airplay and streaming.

Beabadoobee- “Glue Song” (Dirty Hit)

A lilting chamber-pop charmer from the Philippines-native that has steadily built a bubbling following as an alt-pop noisemaker. It takes just one jaunt through this track’s brief two-minute run-time and it will have lured you into a sweet, alluring trance as intoxicating as the infatution she’s singing about. By the time the rich horns signal the song’s end, your head’s right up in the clouds with Beabadoobee.

Kristian Bush- “Aready Yours” (Big Machine)

With his prolific quartet of full-length albums released during the past twelve months, Kristian Bush seems hell-bent on releasing more music during his fifty-second year than all of the material he’s released individually and as part of Sugarland, combined. This latest single travels down a well-trodden path in both country and pop circles: a delirious celebration of love-at-first-sight that was long ago predetermined by the fates of romance. Bush’s take on it excels beyond the typical paint-by-numbers scheme thanks to his unique vocal personality and all of the subtle charms that come with it.

Chapel Hart- “Glory Days” (Self-Released)

Despite a recent stint on America’s Got Talent, and the national exposure that came with it, Chapel Hart remain only on the cusp of mainstream country success, but they certainly remain among the buzziest acts on the Music City fringes. “Glory Days” is another quality performance from the soulful, twangy trio, highlighted by a warm and clean 90s-sounding production. The sound of the record immediately had me recalling all of Trisha Yearwood’s classic hits with Garth Fundis at the producer’s helm. With 90s country back in full-throttle vogue, now’s as good as any time for Chapel Hart to score the mainstream breakthrough they’re clearly hungering for. Good on them for not compromising their core sound to make it happen.

Luke Combs- “Love You Anyway” (Columbia)

A heart-tugging tribute to his wife, the first single from Luke Combs’ upcoming fourth album could have easily become the kind of treacly, maudlin sap-fest that gives country music a bad name Instead, it’s one of the simplest and strongest performances the country superstar has released to date, thanks to a refreshing fiddle backdrop and a vocal that stays more tempered and tender rather than going for the glory-notes that we now his bold twang is capable of.

Lana Del Rey- “A&W” (Interscope)

A bold as a statement it is to make given the overall arc of Lana Del Rey’s catalog, this second single from her most recent album, is inarguably the most daring and experimental track of her bewildering career. None of us should be surprised at this point by the stark, bare nature of any of Del Rey’s music, and that’s why it’s so impressive that she can still manage to surprise and alarm us with new material. The title “A&W” is a symbolic representation of an American whore, and the accompanying song is a morose, trippy peek inside the life of a down & out prostitute. When the second half of the song suddenly pivots from Del Rey’s signature confessional alt-rock to a psychedelic trap breakdown, it proves to be the perfect illustration of the juxtaposition between the acts that this narrator commits and the feelings they leave her drowning in afterwards.

Robert Ellis- “Yesterday’s News” (Niles City)

Robert Ellis has definitely established himself as one of Americana’s most restlessly adventurous stylists, with an array of albums exploring everything from straight-forward country and folk of his early records to 2019’s most recent pivot with a full-fledged collection of piano-rock. He follows that artsy and dazzling melodrama by stripping things back completely in the opposite direction. “Yesterday’s News” is a hushed and meditative dip into bare-boned, jazzy folk, which once again proves just how flexibly adaptive and versatile his soul-stirring singing and songwriting truly are.

Nate Fredrick & The Wholesome Boys- “Paint the Town” (Wanda)

Man, what a frigging fantastic slice of modern country-rock this track is; equal-parts breezy and rollicking. It’s difficult to distract from just how eerily similar Nate Fredrick’s voice is to that of Sturgill Simpson’s, but “Paint This Town” finds Frederick and his crackling band settling into the kind of Waylon-esque troubadour sound that Simpson himself was far too restless to fully commit to. Fredrick fills that void splendidly with an electric confidence and smooth swagger that is irresistible. Be sure to check out his excellent new EP for which this is a mighty tasty appetizer.

Joe Hertler & the Rainbow Seekers- “The Last Ovation” (Universal)

This excellent indie band is continuing to give Andrew McMahon In the Wilderness a run for its money in terms of ability to curate the most hypnotic brand of shimmering, artsy, dance-inflected folk-rock. “The Last Ovation” finds Hertler’s narrator grappling with the idea of finality, both in terms of a relationship and life itself. The fear of the unknown that is depicted in the verses is put at peace by a declaration in the chrous from a lover who vows to be there for their partner, no matter how much time they have together. In typical Rainbow Seeker fashion, it’s all wrapped up in a dreamy soundscape of space-rock sonics and vocals that are simultaneously folksy and soulful.

The Interrupters- “Raised By Wolves” (Epitaph)

This is fittingly the most ferocious vocal from Aimee Interrupter to date, and her bandmates match that intensity with a crashing wave of uninhibited ska-rock jamming. The Interrupters are undoubtedly one of the most enticing young bands in all of rock. It’s time they got the recognition as such.

Jonas Brothers- “Wings” (Republic)

The launching pad to the newest Jo-Bros era further expands on the familial group’s signature pop sound with generous layers of their trademark harmonies, heavy synth and electronica effects that briefly recall Daft Punk. It has an atmosphere that just feels like it’s upped the emotional stakes of the group’s music, and the trippy combination of harmonies and sonics at the song’s climax transfixes you before abruptly ending just before the two-minute mark. It’s short length is rather puzzling, but nevertheless effective in leaving listeners hungry and curious for whatever’s to come on their pending LP.

Karen Jonas- “Rock the Boat” (Yellow Brick)

A spooky spell of country noir in which the narrator makes no bones about the fact that’s done living her life in fear of mortality. Jonas’ voice has the purity of an angelic songbird, however she sings with a deliciously devilish intention to create a dichotomy that is so tantalizing. There are some major Amanda Shires vibes at hand here, which immediately makes her a favorite to watch.

Lucero- “Macon If We Make It” (Liberty & Lament)

Sonically, “Macon If We Make It” is a perfect distillation of what Lucero does best: a raucous country-rock rave-up that is as suited for performance in an arena as it is in the back-room of a dive bar. At the heart of it is a bittersweet sentiment surrounding the acceptance of a relationship’s end and one’s admission that you’re the one to blame. The ragged edges of Ben Nichols’ voice perfectly capture this crossroads with a multi-faceted sense of regret, resignation, acceptance, and humble appreciation.

Ashley McBryde- “Light On in the Kitchen” (Warner)

I’m just so in love with the limitless range of Ashley McBryde’s storytelling capability. She can wax sexual politics with frank honesty and maturity on “One Night Standards” or be a flat-out ravenous psycho in “Martha Divine”. She can get down-home and raunchy with the best of them throughout all of Lindeville. And then she can turn around and deliver a tender family-oriented punch to the gut like “Bible and a .44”, or on this excellent new single. The intimacy with which she vocally and lyrically captures the simple things that make one’s relationship with their mother so impactful is so moving, and immediately will transplant any listener back to the kitchen table conversations of their adolescence. This is the stuff that classic country music is made of.

Tim McGraw- “Standing Room Only” (Big Machine)

Dating all the way back to “Don’t Take the Girl” in 1994, one of the major building blocks of Tim McGraw’s catalog has been emotional, heart-tuggers that have ranged from gracefully restrained to utterly bombastic- in the very best ways. “Standing Room Only” is clearly looking to split the difference between those two spectrums, like a middle-ground between 2004’s “Live Like You Were Dying” (which shares a songwriter in Craig Wiseman) and 2016’s Lori McKenna gem, “Humble and Kind”. This song doesn’t measure up to either of those benchmarks, but very few songs do. But this is ultimately another winning performance for McGraw thanks to his humble and mature vocals and a sprinkling of lyrics that manage to express a lot of the common platitudes in different ways (“I wanna live a life like a dollar and the clock don’t own me…Stop judging my life by my possessions, start thinking ‘bout how many headlights will be in my procession.”).

Kip Moore- “Damn Love” (MCA)

It’s no secret that I love me some Kip Moore. And I also don’t really mind that this era-launching single sees him venturing outside his typical Heartland Rock vibe that I love toward a latter-day Keith Urban leaning pop sound littered with heavy synch and loops. I don’t think he pulls off this kind of arrangement as well as Urban has; I think it’s far too monotonous and customer-service-hold-music-esque for my taste. But man does he ultimately elevate it with the husky passion and conviction of his voice. The dude’s got some of the most passionate sounding pipes around and in cases like “Damn Love”, that makes or breaks a record.

Willie Nelson- “Tiger By the Tail” (Legacy)

It looks like we blinked again and Willie Nelson released another album; this time a collection covering the songbook of iconic country tunesmith Harlan Howard. It comes as no surprise that Nelson’s version of the Buck Owens chestnut is an outstanding dose of classic country, thanks to the combination of a timelessly entertaining tune, superlative country musicianship and a signature vocal from Willie, who still sounds spry and lively as hell on the verge of his 90th birthday.

Portugal. The Man- “Dummy” (Atlantic)

Sure, there’s a whole lot about this intended comeback track from Portugal. The Man that lives up to its title with its undeniable insipidity. But that’s also been the main ingredient in plenty of iconic pop bops since the dawn of time, and this does take flight once it reaches its destination as a goofy, celebratory welcome to apocalypse. So, it has that going for it, even if too much time has likely passed for it return PTM to the summit of alternative airplay enjoyed by equally weird and addictive jams like “Feel It Still”. and “Live In the Moment”.