In the world of Crutchfield and Williamson, breakups are commonplace, as commonplace as a dilapidated gas station on a two-lane highway, a common tragedy. Their songwriting is more direct than their past work, favoring simpler phrases and evocative still lifes (pink carnations, potted cigarette butts). But the two artists still enjoy the way they tell stories in a roundabout way, drawing fleeting revelations throughout their songs. In “Summer Sun,” Williamson makes a meandering apology to someone he dated while old wounds were still shallow. Throughout her songs, Crutchfield insists partners reach her high standards, calls them out on their avoidance, and offers hard-won sage advice. “I know you can’t lose a fight if you cover or give it up,” she tones her, without being “easy” and unkind. They create space for disappointment and heartache while maintaining empathy for the person on the other side.
As with all albums born from a particular musical fascination, i walked with you Widespread and a joy to discover every time you hear it. “Line of Sight,” with its wandering Dobro and humming Wurlitzer piano, evokes the tics of both his ’90s heyday and his darker 2006s alternative his pop. long way to goWilliamson covers contemporary Texas singer-songwriter Hoyt Van Tanner’s “Bella Fatima,” turning it into a waltz that sounds as old as the prairie itself. trio album. These callbacks are subtle enough not to stage the major heartlines that run throughout the album. Acoustic strings and drums provide a cozy backdrop, with a mournful guitar solo sneaking momentarily between the chorus and his second verse, or an organ playing a call-and-response melody on “No Record of Wrongs.” It may just fade back to . brush.
Outside the mainstream, we’ve seen a growing number of artists these days donning cowboy hats and putting their best spins on vintage Americana.call it Spotify Indigo National breeds as required. Cult favorites such as Price, Tyler Childers, and Sturgill Simpson infuse their traditionalist tendencies with anti-authoritarian tendencies.In addition, Orville Peck and “Merle Haggard with Pax” Outlaw Dougie Poole deftly and honestly subverts the subject matter of a modern country star. Plains feels much less heavy by comparison, a logical conclusion for two girls who have run out of CDs by Deena Carter and Judd. I am honored to be able to
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