Albums
Brandy Clark- Brandy Clark (Warner)
With the release of her titular fourth studio album, Brandy Clark continues to build one of the most rewarding and thoughtful bodies of music across the entire spectrum of American music. With the assignment of fellow Americana stalwart Brandi Carlile in the producer’s chair, the album also finds Clark edging even further back to the formative singer-songwriter trappings of her acclaimed 2013 debut, after a pair of albums with the great Jay Joyce found her just so subtly dabbling with broader strokes of contemporary country and pop. The sonics of a Brandy Clark album have always been the icing however, with the true center being the candidly personal and often comedically dark story songs she weaves, and that’s never been truer than on Brandy Clark, not to mention her warm, inviting, and remarkably pure vocals. The set opens with Clark adding to country music’s storied pantheon of domestic abuse-murder twofers with “Ain’t Enough Rocks”, which features a spooky Derek Trucks guitar solo that ups the treacherous heights of the song considerably. When it’s followed by a track called “Buried”, one might expect the homicidal nature to continue, only for Clark to unveil a wrenchingly tender ballad that plays like a vow to keep one’s hidden affection for an unavailable lover a secret until she dies. These are the kind of sly twists and turns that define a Brandy Clark record, and unflinchingly keep the listener curiously hooked. Carlile’s well-established taste as a producer is gracefully etched throughout the record, but only to further enhance Clark’s own strengths, not distract from them, though there’s no denying that she can’t help but elevate the proceedings when her own distinct vocal magic appears, whether it be on a full-on duet with the beautiful “Dear Insecurity”, or as a haunting backing vocalist on great cuts like the Heartland-leaning “Northwest” or the delicate “Up Above the Clouds (Cecilia’s Song)”. Perhaps the greatest highlight of the record arrives though when she unleashes what could have easily been Track 13 on 12 Stories with the grandmother tribute, “She Smoked in the House”, a heartwarming and amusing ode that reminds us that she’s one of the true descendants of the grand John Prine tradition with her ability to make us laugh and weep in one fell swoop.
Jonas Brothers- The Album (Republic)
With the release of 2019’s comeback, Happiness Begins and the onslaught of hit singles that followed, Jonas Brothers officially graduated from the late-2000s crop of teeny boppers to the status as one of the present moment’s most potent pop acts. Stacked with concise and sun-shiney blasts of pop bliss from top to bottom, The Album is certainly poised to continue their hit streak and stake its claim as one of 2023’s ultimate summer soundtracks. It’s nothing groundbreaking, nor does it need to be. As they profess in “Sail Away”, “Leave the mental, need to just let go…let’s just let go…love this tempo.” This is not to suggest that the brotherly trio approaches their craft lightly. Producing a pop album this airtight is not an easy or justly appreciated accomplishment, and the Jonas and their army of producers clearly assemble this onslaugh of sonic goodness with astute precision. The result is an uplifting and celebratory feel-good collection of anthems that smoothly integrate their core pop sounds with well-executed nods to an array of pop touchstones, ranging from The Bee Gees (“Wings), Chicago (“Vacation Eyes”), and Michael Jackson (“Celebrate!”) to The Doobie Brothers (“Montana Skies”) and Wham! (“Americana”). Meanwhile, the fatherly ballad “Little Bird” reasserts that there’s just as much heart and sincerity beating through this album in addition to all of the laid back euphoria and escapism. It’s that balance which makes The Album a shining example of 2020s pop at its very best.
Kesha- Gag Order (RCA)
While Kesha could have been relied upon in the past to only add to the splashy pop party scene evoked in the album above, Gag Order represents a very different stage in the former hit maker’s career arc, but one that sheds light on just how deeply reflective and powerful pop music can be when it embraces its darker shades. Released in the aftermath of the long overdue settlement of her legal case against former producer, Dr. Luke, and with the addition of Rick Rubin as the lead producer, it’s no surprise that Gag Order fully embraces the alt-pop sounds of artists like Fiona Apple, Bjork and St. Vincent, as well as the other bits of genre variety that have been sprinkled into her work since 2017’s fabulous Rainbow. These more intricate alternative and art-pop sounds prove to be a fitting backdrop for abstract and gutting numbers like “Eat the Acid”, “Living In My Head” and “All I Need Is You” that clearly prioritize art and personal catharsis over anything resembling commerce, while tracks like “Only Love Can Save us Now” and “The Drama” successfully distill that more avant garde direction with some of the popping attitude of bygone Kesha dance floor jams. This is one of those albums that resonates far below the surface level and will require repeated, deep and attentive listens before you can fully capture the entirety of its reach. This emotional weight is perhaps most immediately accessed through the moving closing song, “Happy”, though that moment also delivers far more gravity when played as the encore for all that precedes it. Conclusively, if you commit to Gag Order, you’re likely to reap the same emotional release and reward that Kesha clearly has in creating it.
Marty Stuart & His Fabulous Superlatives- Altitude (Snakefarm)
Marty Stuart’s reputation as one of country music’s great gatekeepers has never been called into question as mere hype or self-prophecy. It’s for his passionate championing and education of the artform’s core musical values and roots as much as his actual body of work that landed him in the Country Music Hall of Fame in 2020. Both aspects of his legacy are in full-frontal display on Altitude, his newest LP with his ever-accurately titled band The Fabulous Superlatives, and his first studio set overall since 2017’s excellent Way Out West. Stuart’s core sound has always been a bedrock of electric country sound that pulls from the genre’s most respected subsets, namely Bakersfield, Outlaw, and of course the 90s neo-trad movement that he is a grossly underrated contributor to. For Altitude however, Stuart is drawing his greatest inspiration from the era of Cosmic country-rock, specifically The Byrds’ 1968 landmark, Sweetheart of the Rodeo. To say that he and his troops effectively captured that magic sound is the understatement of the year. My God, does this album sound fantastic. Stuart himself sounds as vocally convicted, charming and smooth as he always has, but good Lord is the guitar work throughout so breathtakingly clear and resonant. That’s nothing new for the Superlatives, but it shines in a completely new light on this record. I can’t wait to hear these guitar fills echoing from my turntable. The highlights of this album are generously abundant, from the lonely honky tonk narratives of singles like “Country Star” and “Sitting Alone” and the spooky country noir of cuts like “Space” and “Nightriding”, to the lush steel-laced California country of the title track and rip-roaring surf jamming of “Tomahawk. There’s truly not a bad pick in the litter. Altitude lives up to its title in exemplary fashion, and achieves a level of pure musical excellence that would be challenging to match in any genre and in any era. Superlative, indeed.
Singles & Tracks
Halle Bailey- “Part of Your World” (Disney)
So, for those of you unaware, I grew up a hardcore Disney kid, to the point where I’m sort of surprised I’ve never written about any Disney music on this site. The new version of “Part of Your World” seems like as good of a starting-point as any, since The Little Mermaid was my first vivid memory of seeing a movie in a theatre, and I’m genuinely excited to see the upcoming live-action remake. Obviously, nobody is ever going to top the Jodi Benson original, but Halley Bailey comes as close as any of the various attempts made over the past three decades. This girl can sang, and she turns in a passionate and graceful reading of what is arguably the most iconic musical moment in the entire Disney canon. This version succeeds both on nostalgia and pure vocal talent.
Brandy Clark- “She Smoked in the House” (Warner)
Yet another brilliantly vivid and intimately personal chestnut from Brandy Clark; the kind that have made her one of the most cherished songwriters over the past decade, and will continue to do so for decades more. She expertly and eloquently weaves her conversational deliveries and stunning lyrical imagery to craft an ode to her grandmother that is both wry and heartfelt, and beautifully symbolic about the intricate pieces of life minutia that help define it: “And I hate cigarettes/But I miss all that smoke that my grandma blew/Back when I grew up with her and that radio.”
Kelly Clarkson- “Favorite Kind of High” (Atlantic)
The latest preview from what is essentially Kelly Clarkson’s divorce album assures listeners that there will be plenty of punching pop beats in addition to the dreary emotional power ballads that one would expect on such a release. “Favorite Kind of High” offers the kind of surging, addictive power pop arrangements that have accompanied her peerless voice on the biggest up-tempo highlights of her two decade catalog. Clarkson’s one of the great balladeers of her time, but she’s also got loads of charming joy and spitfire to her personality as well, so it’s refreshing to know moments like “High” will do their part to keep that second side of the coin front and center on Chemistry.
Miley Cyrus- “Jaded” (Republic)
A sultry post-break-up tune that serves as another winning showcase for the seductive pop powers of Miley Cyrus. There’s a bluesy undercurrent to this track thanks to its dreamy guitar riffs and Cyrus matches that tone with the gutsy build of her vocal performance. There’s so many love songs about perseverance and couples that survived being taken to the brink and bouncing back admirably. I love the fact that Cyrus turns that sentiment on its head in such frank fashion, all the while still retaining every bit of sexy allure in her voice: “We went to hell but we never came back.”
Diplo, Sturgill Simpson, Dove Cameron & Johnny Blue Skies- “Use Me (Brutal Hearts)” (Higher Ground)
What a left-of-center combination these artists make and the results are just as enticing. I would’ve absolutely never predicted that Diplo’s latest attempts to merge country and electronica sounds would result in Sturgill Simpson’s first musical appearance since his infamous “five albums and done declaration”. Not only am I not sad about it, but I freaking love this. Simpson’s indelible mountain voice sounds fabulously intoxicating against this smooth concoction of sounds that pulls from a vat of 60s soul, classic disco, funk rock and modern EDM. Also, my fixation with Sturgill’s participation here should not distract from the fact that Dove Cameron sounds positively divine as well. This entire track is fantastic.
Florence & the Machine- “Mermaids” (Polydor)
This unearthed bonus cut from the most recent F+™ album, last year’s Dance Fever, is extremely bizarre, ominous, and melodramatic, even by Florence Welch’s standards. In many ways, it’s like a bloody horror version of the aforementioned Little Mermaid story. Blaring, foreboding horns and a bubbling dance-floor beat crash into the always rousing vocals of Welch to create a moment that will rank among her most daunting and cinematic. Plus, just to hear Welch utter the line “Hugging girls that smelt like Britney Spears and coconuts” is worth the price of admission alone.
Foo Fighters- “Under You” (RCA)
Like its predecessor, the second single from the forthcoming Foo Fighters release continues to grapple with the loss of drummer Taylor Hawkins, however “Under You” takes on a far more melodic and up-tempo atmosphere, which in itself plays like a joyous tribute to the rousing signature brand that Hawkins helped the band build. At the core of the lyric, we find Dave Grohl’s narrator trapped in the most complicated phase of grief, where there are signs of light and acceptance ahead, before one is snapped right back into the harsh reality of loss that they just can’t shake. It’s a difficult balance to capture in a three-minute rock song, but the Foos do so with unsurprising aplomb and grace. “Under You” is immediately destined to become both one of the band’s most anthemic and sentimental battle cries.
Rhiannon Giddens- “You’re the One” (Nonesuch)
Rhiannon Giddens has spent so much time over the past few years astounding us with stunning conceptual work, brilliant collaborations and all-out super-groups that the prospect of her releasing just a proper solo album seems almost foreign. “You’re the One” is the launching pad for such a project, and it’s a pure roots music dreamboat. The rich acoustic musicianship is stellar, the song’s melody fetching, and Giddens’ unique vocal timbre and delivery as beguiling as ever. A deeply rewarding preview to what is sure to be one of 2023’s most satisfying releases, on par with the superb musicality of the outstanding Nickel Creek record.
Jason Isbell & the 400 Unit- “Cast Iron Skillet” (Southeastern)
It’s been a decade since Jason Isbell’s Southeastern transformed himself from a minor curiosity on my musical radar to one of the definitive artists in my entire passionate love affair with music as a whole. Ten years later, his songwriting still has the capability to stop me in my tracks, the kind of lyrical magic that takes me on life’s worth of emotions in the confines of a three-minute song. “Cast Iron Skillet” is another sterling example of this masterful craft. One line will have me laughing (“Don’t drink and drive, you’ll spill it”) and another will absolutely rip me to shreds (“Was it twenty-seven times, or was it twenty-nine?/I heard the blade broke off inside the man.”) It’s a poetic encapsulation of the heavy weight that both the minute details and the most pivotal events carry throughout our lives, and how they all inevitably tangle together.
Kesha- “Eat the Acid” (RCA)
As alluded to in the earlier album review, “Eat the Acid” is not of the pleasure-seeking, party anthemia that defined Kesha’s bygone radio days. Instead, it’s a morose and unpolished, psychedelic catharsis for all of the dramatic turmoil that has clouded both her personal and professional life for years now. It’s also the culmination of all the progressive artistic evolution she’s demonstrated since 2017’s Woman, which first recast her as an important creative pop force rather than a disposable LMFAO-styled party girl. But as cathartic as this moment surely is for Kesha, one can’t escape the undeniable dread and doom that lingers over the proceedings. Her mom may have warned her to lay off the LSD, but she clearly didn’t shield her from all the other demons that come with fame and adulthood.
Elle King- “Jersey Giant” (RCA)
Among the many highlights of Elle King’s first official country album release was the exquisite taste demonstrated by choosing to cover this Tyler Childers jewel. She invokes her cover with a pinch of her own brand of country-rock spunk, while remaining ever-loyal to the Appalachian mountain sound that is Childers’ sonic calling card. She sounds undeniably natural and at-home in these grassy settings. It’s both a joy hearing her singing Childers’ ubiquitous lyrics and hearing her voice cozy up next to a gorgeous fiddle and mandolin arrangement.
Miranda Lambert- “Carousel” (RCA)
The cornerstone of Miranda Lambert’s most recent album soars toward the top of the artist’s stack of numerous jewels in her expansive catalog. A classic, three-part country story song that follows the bittersweet romance of two circus stars, with a beautiful first-person reveal in the final chorus, “Carousel” exemplifies everything that we’ve loved and raved about Miranda Lambert for the better part of two decades: beautiful and emotive storytelling chalk full of gorgeous imagery, relatable stories, and a creative narrative and sonic bent unique to her.
Ashley McBryde- “The Devil I Know” (Warner)
Man, the women of music are really on fire (across all genres) throughout 2023 thus far! The second preview of Ashley McBryde’s fall-slated fourth album is a tremendous acknowledgement–and celebration–of one’s vices and how they’re unique to her. We’re all guilty of slinging advice at others, and McBryde skillfully reminds us that we all have our own pitfalls to get through life, and we all likewise have to figure out our own ways to cope and compensate for them. Per usual, she dishes this proclamation out with her crystalline and incisive twang, supported by a loud but crisp backdrop of her signature country-rock sound. Not since the aforementioned Miranda Lambert has the country genre produced an artist like McBryde who can be independently badass on one hand, and poetically insightful on the other.
John Mellencamp- “Hey God” (Republic)
Not that he was ever one to mince any words, but it should come as no surprise in this latter day era of his career that John Mellencamp is as political and outspoken as ever on the lead single from his forthcoming twenty-fifth album: “Weapons and guns, are they really my rights/Laws written a log time ago/No one could imagine the sight of so many dead on the floor.” Regardless of your political stance, it’s difficult to fathom any sensible person not agreeing that these questions need to be asked at this stage in America’s troubling culture. Mellencamp’s increasingly tattered rasp proves to be the perfect vessel for such declarations, with its bitter balance gravely anger and aching soul. The gritty Americana arrangements are a revelation all their own. The chorus sounds like a swampy gospel revival are remarkably punctuated by both stinging sitar and luminous fiddle solos. “Hey God” is a bastion of soul-stirring, provocative roots rock. There are still very few that create such material so boldly as John Mellencamp.
Kylie Minogue- “Padam Padam” (BMG)
There are times when Kylie Minogue immediately consumes our attention with an anthemic dance hook that is boldly front-and-center and instantly infectious. Then there are instances like “Padam, Padam” when she slowly creeps into your consciousness with a slower burning seduction before leveling you with the realization that she’s completely hypnotized you. And it’s those moments that truly reveal the extent of her prolific pop power, and a key ingredient to her longevity.
Dolly Parton- “World on Fire” (Big Machine)
In what will surely be one of the most curious releases of 2023, country icon Dolly Parton has confirmed plans to release a full-fledged rock album (a triple LP mind you), in response to her induction last year into the Rock & Roll Hall of Fame. Music fans learned long ago not to doubt Parton’s varied stylistic inclinations and with this lead single (also one of the few non-covers and solo performances on the album), the legend proves that she’s more than capable at not just talking straight up rock, but glam rock to boot. And that’s in her late seventies. So, yeah, anyone still bitching about Dolly’s inclusion in the Rock Hall can politely step off at this point. “World On Fire” begins with a prominent Bon Jovi-esque glam guitar intro before exploding into a thunderous social-rock commentary. Parton sounds completely comfortable and natural in this setting and her thinning country wail doesn’t once sound drowned out; in fact it sounds more fiery than it has on any recent album of hers. Yes sir, rock Dolly kicks some mighty fine ass.
Kimberly Perry- “If I Die Young Pt. 2” (Records)
So, I’m admittedly a bit split on this country reemergence (and solo turn) of Kimberly Perry. I was very high on The Band Perry at the dawn of the 2010s; their debut and sophomore albums along with “If I Die Young” received a massive amount of spins on my bygone iPod. Conversely, I also didn’t mind their initial pop dabblings (I think I was one of two people on the planet who actually loved “Live Forever”), but it was disappointing to see them completely go off the deep end with their artistic identity in the years that followed. So hearing Perry’s sweet voice back in its original country surroundings is a real joy, and I love the idea of hearing “If I Die Young” revisited from a more mature perspective (“Now I know there’s no such thing as enough time”). I just wish she had come up with a new chorus rather than simply deriving repeating that of the original. Regardless, I’m eager to hear more of her back in this realm; I think she has the potential to fill some of country’s thematic/stylistic voids left by Taylor Swift’s conversion to pop.
Grace Potter- “Mother Road” (Fantasy)
I’m fully aware that I sound like a broken record each time I review new music from Grace Potter, but I’ll say it again. I don’t understand why this woman isn’t the Linda Ronstadt of modern day music. And yes, I’m fully aware that the real answer to this is the sad fact that the mainstream rock industry really doesn’t make room for artists like Potter any longer, i.e. women whose powerful voices allow them to seamlessly navigate the vast genres of the American music spectrum. Nevertheless, Potter continues to generously feed those of us in the know of her talents and with the hunger for great, straight-forward roots rock and the like. “Mother Road” is a fantastic roadhouse rock performance spilling over with red-hot vocals, excellent musicianship, and plum-perfect rock production. Yes, this kind of music is still being made. Seek it out.
Harry Styles- “Satellite” (Columbia)
The latest release from the Harry’s House behemoth is another interesting radio left-turn following the selection of “Music From a Sushi Restaurant”. “Satellite” meets at the dreamy intersection of post-psychedelic rock and spacey 80s synth, with Styles romantically pining to be the source of comfort for the lonely subject of his affections. Watch out: this one sneaks up on it in terms of its contagion.
Taylor Swift featuring Ice Spice- “Karma” (Republic)
Inarguably the most accessibly banging bop off of Midnights, “Karma” finds pop’s biggest superstar applying all of her box-office glamour and hook-heavy sound to the aptly titled chillwave sound that she expertly inhabits throughout the rest of the album. I can take or leave the Ice Spice rap feature; it adds a little extra flare to a track that does well with or without it. Bonus points to Swift for lyrically indulging in her self-professed cat-lady status on the chorus. Meow.
Tanya Tucker- “When the Rodeo Is Over (Where Does the Cowboy Go)” (Fantasy)
Damn, these gorgeously bittersweet pre-releases are getting me excited for this new Tanya Tucker record. Tucker’s voice has always been that of a true stylist, with the ability to capture emotions in a way that was truly unique to her. There’s such an added element of ragged power and beautiful sadness residing in her pipes now, thanks to over four decades of life experience and the cruel pendulums of the music industry. This is all put to tremendously moving effect on this classic-sounding C&W ballad about a fallen rodeo facing the end of his career. It’s a harrowing portrait, and one that can easily be applied to a music star, or just about anyone experiencing the crossroads faced in their twilight years.
Turnpike Troubadours- “Mean Old Sun” (Thirty Tigers)
All is right in the Texas country scene these days thanks to the long-awaited return from the revered Turnpike Troubadours. “Mean Old Sun” marks the band’s first piece of new music since 2017, with the years that followed seeing personal demons putting a halt to the band’s creative forces. The mid-tempo trappings and tone of “Sun” certainly tap into the patience, perseverance, and self-forgiveness one requires to overcome life’s darkest challenges. Evan Felker’s voice sounds as sturdy and pure as it ever has, and the same can be said for the Troubadour’s signature Red Dirt-laced picking and harmonies. This band may have been through hell the past few years, but their quality of music remains top notch.
Shania Twain- “Bone Dry”/”Wanted Man” (Republic)
Alright, there’s no denying that I’ve been living my best Shania-fan girl life this month. I’m still thoroughly enjoying the Queen of Me album and loved every minute of the Madison tour stop I was able to catch a few weeks back. With that said, as much as I enjoy and respect her prerogative to indulge the dance-pop glitz of the current era, I’m already anticipating her next move and hoping it’s the more organic and roots-based legacy moment that I think her career needs and warrants in the coming years. This is precisely why I’m excited by the nature of these two bonus cuts which recently emerged on the deluxe edition of Queen. Both travel down a more stripped and gritty production path, which I think best suits her latter-day voice and taps into an underrated aspect of her songwriting. “Wanted Man” is a joyously flirty, roadhouse-leaning honky tonker while “Bone Dry” is a raw and candidly somber confessional that is highlighted by scorching alt-rock guitar. If you weren’t keen on the recent tunes, I encourage you to check these out; they might restore your faith in Twain’s future endeavors. Let’s keep her on Dave Cobb’s radar, or get Rick Rubin on the line to cut album #7 STAT.
Morgan Wade- “Psychopath” (Arista)
Morgan Wade emerged as one of the most buzz-worthy new acts of the pandemic era with her excellent 2021 debut, and “Psychopath” immediately addresses any concerns over a sophomore slump. I love how sweet and messy and just wholly realistic this celebration is of the relationship between her and her lover. Yes, true love is littered with all of the sweet greeting-card sentiments and moments that society places upon a pedestal. But it’s also filled with the quirky, unconventional moments and traits that only make sense to the two people in the relationship. Yes, you’re crazy. And yes, your partner loves you, not in spite of this craziness, but because of it. That’s the essence of “Psychopath”, and Morgan Wade portrays this splendidly with the same sweetly jagged country-rock spirit that made her debut so engaging.
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