Another bountiful crop of new releases.
Ian Noe
Canyon Falls Trailer Band
Concluding his trilogy of East Kentucky tributes with a full-on concept album speaks to Noe’s uncommon ambition and skill. What impresses most about this record is the depth of Noe’s world-building: It’s less about that dreaded “authenticity” than about believability and honesty for the characters in his sharply-drawn narratives. He knows the music of East KY has been having a real moment for a few years now, and he’s secure in his own place in that.
There’s a swipe at Luke Combs, specifically, that misses the mark on Combs’ persona and status, specifically but that’s perhaps the lone real mis-step that pulls focus from how thoughtfully he’s approached this. He’s three-for-three at this point in terms of dropping Album Of The Year contenders, and he’s emerged as one of the most vital artists in the space in fairly short order. Essential.
Pokey LaFarge
Rent Money
Have never been convinced that he understands what “schtick” really entails, and this does nothing to challenge that perception. Maybe a bit more meat to the songwriting here than has been his norm, but that’s not exactly the highest ceiling. It’s fine for what it is.
Katie Pruitt
Fools For the Fleeting
The arrangements aren’t quite as sharp here as on her last record, but her singing and writing absolutely are. Hers is a unique skill set: No one is better at unpacking complex (religious, queer, social) trauma histories with such moral clarity or such songcraft.
Jason Scott & the High Heat
Play Boy
Lord, every second of this absolutely rips. And if we’re seeing acts like Flatland Cavalry and Muscadine Bloodline making mainstream inroads, then there’s honestly no reason why this crew’s perfectly crafted, clever country-rock shouldn’t do the same.
Drew Baldridge
Faith Farm Family
A couple of years back, he had a viral hit that turned into an actual radio hit that was noteworthy for taking the stance, far too novel for country radio this century, that women are people. So it’s noteworthy, too, that this album has a song that directly addresses a bunch of genre- and class-coded stereotypes of (toxic, yes) masculinity. There’s also a duet with rising star Emily Ann Roberts that’s lovely and worthwhile.
But the other hour of this?
It has all of the depth and reactionary defensiveness that its Live Laugh Love title suggests.
Dan Seals & Friends
The Last Duet
With both Easy Listening and early 80s pop-country having a moment of re-evaluation, why shouldn’t an artist like Seals capitalize and get some posthumous flowers? The roster of collaborators on this is deranged in the best ways: Vince Gill, Suzy Bogguss, and John Berry are all here… and so are Katherine McPhee and Lynda Carter? It makes for a fascinating listen from track to track, and pretty well everyone– except for Sara Evans, who’s immediately off-key– brings their best to this project.
Some of the late-90s tracks selected aren’t of the same caliber as his run of hit singles, but there’s a real sense of fondness for Seals and sense of camaraderie that comes across in the recorded performances.
Telling: Tanya Tucker goes hard as only she can and does her damnedest to make “Bop” listenable for the first time ever.
Tony Hannah
Love It or Leave It
Love the distinctive point of view in her writing and the effortless cool of her retro vibe; even in an era of throwback artists, her style stands apart. Could leave the relatively thin vocals, though she does clear most contemporary bars. Definitely one to watch.
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