Wow, what a summer of music! Things really picked up in August, particularly in the pop, rock, and bluegrass fields, while country continued the heavy volume that it’s been delivering all year long.
And yes, I realize that I’ve been rather wishy-washy on what I want this monthly digest to look like. However, as I realize in retrospective how rapidly I’ve still been churning out a diverse batch of full album reviews, I feel like I’m covering that realm to the point where an additional LP summary here isn’t necessary.
Now there’s no way I can possibly cover (or even be aware of) every full album release, even given the fact that I still have a pair of August selections that you’ll see shortly. Therefore, I’m expanding the song/single count in this monthly Digest to help cover some of those missed projects, in addition to the usual batch of the month’s most intriguing and talked-about singles.
So, without further ado, onto the songs!
James Bay featuring The Lumineers and Noah Kahan- “Up All Night” (Republic)
This is a collaboration of supergroup proportions in the folk rock worlds, and its rootsy and infectious euphoria lives up to those lofty expectations, both right out of the gate, and on every repeat listen. The search for my definitive fall anthem is already complete. Bay has been slept on for far too long as a force in the roots scene; the quality of this single and the star-power surrounding it deserves to change all of that.
Kelsea Ballerini- “Sorry Mom” (Black River)
Co-written with the likes of Hillary Lindsey, Karen Fairchild, and Jessi Jo Dillon, “Sorry Mom” is another promising preview of Ballerini’s forthcoming record, which is a pivotal follow-up in the wake of the one-two success of Subject to Change and Rolling Up the Welcome Mat. It continues to demonstrate her growth into one of the most potently confessional songwriters, regardless of whether she’s wearing a country or pop cloak. A musical apology to her mother, it’s a worthy, feminine companion to recent country moments like Morgan Wallen’s “Thought You Should Know”, or a throwback like “Mama Tried”.
Beabadoobee- “Beaches” (Dirty Hit)
Tasty guitar riffs collide with Beabadoobee’s mysterious sonic aura and introspective lyrics to create a record that will tailor to connoisseurs of either entrancing summer tracks or folky ruminations. If you’re into both, you can’t go wrong with “Beaches”. She remains a curious alt-folk wizard to keep an eye on.
Bishop Briggs- “Mona Lisa On A Mattress” (Terry Eighteen)
A captivating, cathartic release of bubbling tension and anxiety that reminds of Briggs’ magnificent turns of phrase, guttural vocals, and alt-tinged adrenaline.
The Blessed Madonna and Kylie Minogue- “Edge of Saturday Night” (Warner)
Another dazzling throw-down that rightfully continues Minogue’s recent legacy tour as the definitive queen of all things dance, while the Blessed’s Marea Stamper continues to prove herself as one of the current era’s most skilled purveyors of 21st century beats.
Bright Eyes and Alex Orange Drink- “Rainbow Overpass” (Dead Oceans)
A sprightly folk intro gives way to a rambunctious garage rocker, setting off a wave of energetic anticipation for the upcoming Bright Eyes LP. For a band that was supposedly finished over a decade ago and for a lead singer that made a very successful transition to solo success, Conor Oberst and his bandmates seem to have plenty of gas left in the BE tank.
Sabrina Carpenter- “Taste” (Island)
Every bit the contagious and sharp slice of bubblegum glory as the pair of breakthrough smashes that preceded it, “Taste” finds the newly coronated pop princess soaring once again on the strength of a sassy tongue-in-cheek, a sardonically charming delivery, and an arsenal of pop hooks.
Childish Gambino- “Lithonia” (RCA)
A glowing centerpiece of the recently released Gambino finale, Donald Glover displays a luminous performance that overflows with soulful emotion. It’s an impressive example of the kind of dramatic and nuanced arc that can be magically built within the simple three-minute span of a simple song.
Justin Townes Earle- “Glory Days” (New West)
Appearing on New West’s recent vault set on the late, great artist, JTE’s sparse reading of Springsteen’s Heartland classic doesn’t completely strip away the nostalgic whimsy of the original, but it certainly unearths the raw, bittersweet, and occasionally depressing results of reflecting on our coming-of-age seasons.
Billie Eilish- “Birds of a Feather” (Interscope)
A paean of romantic destiny and perseverance as told through the gloomy and just-slightly demented lens of Billie Eilish. The girl takes pledges of “til death do us part” about as seriously literal as one could imagine, somehow sweetly using the depressing images of rotting corpses and funeral proceedings as triumphant images of everlasting love. And we wouldn’t want a love song any other way from the sorceress of sad, bedroom pop.
Fontaines D.C.- “Favourite” (XL)
It’s difficult to name many bands of the current era that have been able to mesh such a wide spectrum of sub-genres and sounds as seemingly effortlessly as Fontaines D.C. This single has quite a bit more breeze and jangle to it than the preceding “Starburster”, and it’s a refreshingly cozy change of pace, without sacrificing any of the band’s whiplashing trippiness.
Charles Wesley Godwin- “Sundown” (Big Loud)
I’ve sensed Gordon Lightfoot influences in Godwin’s music for some time now, so it’s rewardingly fitting to hear him tackling one of the legend’s most durable classics. It comes as no surprise that he delivers it with the kind of conviction, grit, and reverence it deserves. May this motivate you to get more of both Lightfoot and Godwin into your listening rotation.
Noeline Hofmann- “Purple Gas” (La Honda)
After scoring widespread exposure for herself and this song via the Zach Bryan duet version on The Great American Bar Scene, Hofmann steps into the solo spotlight and maximizes every second of it. Her ghostly, slightly sardonic delivery of the song’s humble poetry recalls a young Gillian Welch.
Jamey Johnson- “What A View”/”Trudy” featuring Randy Houser (Warner)
After painfully long spell of silence, Jamey Johnson is slowly but surely making up for lost time. This excellent double single asserts that a decade-plus hiatus has done nothing to temper Johnson’s commitment to honest-to-goodness country traditions. The original that comprises the first half of this release is an alluring romancer steeped in the 70s Outlaw scene that has formed the bedrock of his catalog. It’s splendidly complimented with a delectable cover of a Charlie Daniels cover that beams on the strength of lush steel, bold brass, and a tremendous guest turn from the criminally underrated Houser. Let’s hope these tracks are all merely appetizers for a full-blown comeback album.
Karen Jonas- “Online Shopping” (Yellow Brick)
What a joyously quirky record this proves to be from Jonas, a razor-sharp and vastly under-appreciated singer-songwriter who’s been amassing a catalog of country-pop-folk gems for a solid decade now. This is the soundtrack for those evenings (or maybe more) when one wants to indulge in today’s modern conveniences to take refuge from the noise of an increasingly messed-up world. One listen in and you’ll find yourself pining for those days deep in 2020 quarantine.
The Killers- “Bright Lights” (Island)
A fantastic, late-summer anthem. After venturing through everything from stripped Heartland Rock-Americana on 2021’s Pressure Machine to the electropop of last year’s “Your Side of Town” single, “Bright Lights” lands squarely in what has been the Killers’ undeniable sweet-spot for the duration of their two decades as rock leaders. There’s still nothing in modern music quite like hearing Brandon Flowers’ soaring, passionate vocals against their band’s sparkling alt-rock roar, with a perfect pinch of post-E-Street rock & roll sprinkled on top. Whether this proves to be their full-blown next direction or not (Flowers has given many mixed signals in recent press), “Bright Lights” is a surging gift to savor from one of today’s preeminent bands.
Lady Gaga and Bruno Mars- “Die With a Smile” (Interscope)
This is the type of grandiose, blockbuster pop moment that I feel like we’ve been waiting for all damn year. Vividly awash in irresistible, 70s soft rock influences, the two MIA superstars unite for a soaring power ballad that wonderfully showcases the pure vocal chops of both. Mars continues to wear his Silk Sonic tendencies beautifully, while Gaga provides us with one of those balladeer moments that she holds close to her chest until the perfect moment arises. It’s likely not the kind of flashy comeback single that pop fans are hoping for when they each formally relaunch their next respective album cycles, but it sure is nice to hear modern pop stars who can flat-out sang, get the opportunity to do so unabashedly.
Ray LaMontagne- “Step Into Your Power” (Thirty Tigers)
A delightful soul opener to LaMontagne’s newest set. He can still channel Otis Redding as swiftly as he can Neil Young, but his influences never overshadow his own, unique stamp as an artist, constantly centered by the dusty rasp that has made him one of his generation’s most singular stylists.
Ella Langley- “Hungover” (Columbia)
Langley is, ever-quietly, emerging as one of contemporary country’s most pivotal arrivals of 2024. This title track to her recently issued debut disc spotlights a gritty, soulful vessel for the most authentic hallmarks of the genre’s roots. Her voice is husky, liquor-stained instrument and she proves unafraid to maximize its powers in exposing the most intimate details of life’s most unflattering moments.
Amos Lee- “Carry You On” (Thirty Tigers)
It’s impressive how the powerfully unique shades of Amos Lee’s voice manage to shine through, even on the most subdued material, with “Carry You On” proving to be a case-in-point exhibit. Don’t allow the hushed nature of this, or some of the other material on Transmissions dissuade you from his latest music. Just find the perfect moment to take in the quiet, meditative power of it all, and you’ll be happy you did.
Los Lonely Boys- “I Let You Think That You Do” (Shelter)
A juicy hunk of blues-rock, this is Los Lonely Boys once again showcasing how far the scope of their sound and talent extends beyond the breakout hit that will always pigeonhole them in the eyes of the general public (2004’s “Heaven”). Superlative musicianship all the way around.
Lucius featuring Adam Granduciel- “Old Tape” (Mom+ Pop)
Damn, does this pair make gorgeous music look easy. Their vocal blend, the transcending emotion of their lyrics, and the variety of soundscapes they craft to surround it all, will likely stand as my most treasured musical discovery of this season of my life. Adam Granduciel stops by to return the favor for Lucius’ contribution to The War on Drugs’ “I Don’t Live Here Anymore” in 2021, and his vocal and guitar support elevates a marvelous record even further. I’m utterly foaming at the mouth for their next LP.
Shawn Mendes- “Why Why Why” (Island)
The pop upstart’s biggest artistic contribution to date has been the mature vulnerability he displayed on 2018’s smash, “In My Blood”, where he openly tackled his own battles with mental health. The stripped and haunting folk and country leanings of this return single make for a remarkable setting to push that POV forward, and it’s way catchier than any song this pensive deserves to be. Mendes continues to grow into a creative force to watch.
Ingrid Michaelson and Jason Mraz- “Love Is” (Cabin 24)
Michaelson takes an intriguing jazz turn on her newest record, and it proves to be a coat that she wears naturally well. Perhaps the second biggest reward from the project is the revelation that this is a realm also well suited to her fellow pop star, Mr. Az. This duet abounds with subtly beautiful charm.
Maren Morris- “I Hope I Never Fall In Love Again” (Columbia)
This entry from the outspoken singer’s new EP is one of those tracks that’s defined by the true sentiment lying underneath the surface of the contradictory lyrics. Morris may say she’s never entering the romance department again, and she may even want that to be true, but we all know she’s lying through her teeth, a fact that’s all the more evident when she doubles down on her declaration on the song’s bridge and final verse.
Motley Crue- “Fight For Your Right” (Motley)
Two of the formative sounds of the 1980s–heavy metal and Hip Hop–shamelessly collide here as the Crue indulges in the Beastie Boys touchstone. It’s undeniably campy, but plenty entertaining and nostalgic all the same.
Muscadine Bloodline- “10-90” (Thirty Tigers)
The Red Dirt noisemakers have just delivered what many are calling an artistic breakthrough with their fourth record, and this is quickly earning its place as the cornerstone of it all. It has all the makings of an underground country classic that would have eventually been covered by a radio superstar during the 90s gold rush; authentically resonant to the core in all the most important ways. It should become a marital soundtrack, just not for the wedding ceremony, but rather for all the real-life that occurs after that idyllic day.
Willie Nelson- “Last Leaf” (Sony)
Willie, we just are not worthy of the bounty of wonderful music that you continue to bestow upon us in the twilight of your fascinating life. This is the lead single from the second album to be released during the icon’s ninety-first year, and it’s a marvelous resurrection of what should be a Tom Waits standard. Much like Johnny Cash during the final years of his American Recordings releases, Nelson’s increasingly frail voice makes for the perfect partner with the poetic core of the material. To hear his incomparable and increasingly frail voice reflect upon his own, unmatched staying power is a truly remarkable moment in the canon of American music.
Papa Roach and Carrie Underwood- “Leave a Light On (Talk Away the Dark) (New Noize)
For anyone well-versed in Carrie Underwood’s overall stylistic influences, it will come as no surprise to hear the country darling indulging in a glammy rock ballad with Papa Roach. She and lead vocalist Jacoby Shaddix both boast elastically versatile ranges and they marry seamlessly here. The song itself is nothing noteworthy, and is surprisingly brief, but this is a tempting pleasure for anyone with an affliction for dramatic rock power-ballads.
Dolly Parton & Family- “Smoky Mountain DNA” (Butterfly)
After all of the excess, bombast, and pageantry of last year’s Rockstar, Dolly Parton lines up her talented relatives and heads back to her mountain roots with this purely bluegrass romp. Her voice has always shone brightest in an organic and acoustic setting, and this remains especially true as it changes with the passage of time. This is a delightful, harmonious moment stacked with Parton’s classic humility, charm, and positivity. This family project should be one of this year’s late-blooming gems.
Margo Price- “Shelter Me” (Loma Vista)
Culled from the soundtrack for the film, Downtown Owl, this is a potent dose of the Margo Price goodness we’ve come to expect from her: nervy, ramshackle country-rock grounded in Price’s soul-tinged, no-nonsense twang. Her down-home punk navigation of Elvis Costello’s classic, “Pump It Up” from the same release is also worth seeking out.
Reckless Kelly featuring Kelly Willis- “The Last Frontier” (No Big Deal)
A positively sublime dose of Texas country magic courtesy of two of the scene’s preeminent staples from the past three decades. I still melt every time I hear Kelly Willis sing, like it’s the first time all over again, and Willy Braun remains no vocal slouch himself. Plenty of great stuff to be found on their new album of the same name.
Billy Strings- “Leadfoot” (Reprise)
A surging adrenaline-rush preview of Strings’ much anticipated follow-up to 2021’s Renewal. “Leadfoot” is unsurprisingly bursting with superlative mountain musicianship and the kind of trademark frenetic Strings performance that reminds us that bluegrass has informed the spirit of modern rock as much as it has country or any other roots sphere.
Sugarland- “There Goes the Neighborhood” (Big Machine)
A gritty, bluesy outing from the country favorites shines marvelous light once again on the superb voice of Jennifer Nettles, who in signature fashion, matches her pure singing with loads of charismatic character to bring this quirky portrait of a toxically urbanizing town to vibrant life.
Sunny Sweeney- “My Own Lane” (Thirty Tigers)
The Texas spitfire has revisited her stellar 2014 album, Provoked with a Taylor’s Version-styled redo, complete with a handful of vault tracks. “My Own Lane” is the best of that bunch, with the opening lyric fabulously in spirit with Sweeney’s unflappable Red Dirt conviction: “I’ve stopped asking people for directions to places that they’ve never been.” Amen, sister.
Josh Turner- “Two Steppin’ On the Moon” (MCA)
A flat-out honky-tonk earworm that sees its fun and memorable qualities soar through the solar system by way of Turner’s unmistakable vocal personality and some fine, crackling guitar work.
Molly Tuttle & Golden Highway- “Into the Wild” (Nonesuch)
The future of bluegrass music is in mighty fine hands with Molly Tuttle, who like Alison, Rhonda and Sierra before her, graces the exquisite musicianship surrounding her with a heavenly vocal clarity and evocative interpretive skill that is difficult to find. These qualities bring the naturalistic themes of this song’s story to illuminating life.
Rhonda Vincent, Dolly Parton & Cody Johnson- “Take Me Home Country Roads” (Upper Mgmt)
The latest from Rhonda Vincent proves to be a collection of mostly surprising, left-field cover selections that are a treat to hear re-created within her rich bluegrass tapestries. John Denver’s definitive classic is somewhat reaching the point of excessively covered, but this is one of the most rewarding takes to date, and arrives perfectly timed to cleanse us from whatever mess of an interpolation Machine Gun Kelly and Jelly Roll are currently riding up the pop charts. I’m a bit confused as to why the red-hot Johnson wasn’t saved a solo on the bridge, but that’s the only minor miff to find here.
Morgan Wade- “Time to Love, Time to Kill” (Sony)
Wade remains one of the more buzzworthy narrators to arrive on the music scene so far this decade, and this heartbreaking trip through one’s most vulnerable, self-destructive emotions proudly supports that case. Sonically, her second and third albums have left me longing for the spark I heard on her acclaimed debut. Nevertheless, she’s proving herself to be a chameleonic character who will keep listeners guessing on her stylistic path, and her whiskey-kissed voice and sturdy songwriting anchor those pivots nicely overall.
Jack White- “That’s How I’m Feeling” (Jack White)
Perhaps the year’s most ravenously rewarding rock performance. This is Jack White in all of his marvelously messy rock glory. The classic interplay between the tempered but boiling anticipation of the verses and the screaming intensity of the chorus is essential White, and this may be both the catchiest and most riveting iteration of his unique powers to date.
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