It’s been a strange year, and it’s not over yet. But as critics have noted in the past, exciting times make for great art. This year is no exception to the rule. Many outstanding Americana records came out as part of the recent deluge of available music. According to Will Page, former Chief Economist of Spotify, “More music is being released in a single day than was released in the calendar year of 1989.” Many of the best works were sui generis. They represented individual visions and observations and seemed weirdly lumped together in a best-of list. Others grew out of older traditions and seem firmly rooted in bygone days. As Hurray for the Riff Raff’s Alynda Segarra put it in the title of her excellent new record, The Past Is Alive. So is the future. Many superb albums were musically forward-looking and focused on what was ahead. These records implicitly commented on contemporary times by creating unfamiliar styles.
That may be a long prelude to establishing that Americana has never been better in terms of the quality of music, the diversity of styles, the sociological demographics of its artists in terms of race, gender, and wealth, Americana has always been a big tent. The word was initially coined as a way to establish a chart for records that were too country for rock radio and too rock for country. The Americana Music Association (AMA) has successfully established a whole new musical genre.
Today there are radio stations, publications, and even Grammy Awards given to Americana artists. But the term Americana has always been fuzzily defined. For example, this year, the AMA gave a lifetime achievement award to Reverend Gary Davis, a blind blues/gospel singer and instrumentalist (banjo, guitar, and harmonica) born in 1896 and died in 1972. His music has influenced many Americana and non-American artists, but Davis would not have recognized the label.
The AMA celebrated its 25th anniversary in 2024 with its annual AmericanaFest in Nashville from 17-21 September. In a review of the recent event, I reported that the best thing about the event “was the feeling of connection between the artists and the acts as if we were all part of the same Americana community”. We were all there to have a good time and support the concept of music that promoted life-affirming principles, even when singing a sad song. We all share certain social and musical values of inclusiveness and joy.
Calling music Americana means more than using the word as a marketing tool to get on the airwaves. The term also implies an American idealism of making the world a better place through the arts and celebrating our individual and collective identities. As T. Bone Burnett said during his speech, “Our music is America’s greatest gift to the world.” Amen, brother.” I stand by those words. – Steve Horowitz
20. Kim Richey – Every New Beginning (Yep Roc)
Every New Beginning has a nostalgic feel, especially on “Chapel Avenue” and “Goodbye Ohio”, but Kim Richey transcends the maudlin by keeping her concerns in the now. As the LP’s title reveals, the biggest lesson Richey has learned is that life goes on. It’s as simple and complicated as that. “The sun comes up and the sun goes down / And there’s another day,” she sings knowingly. Richey simultaneously refers to the day that just happened and the one about to on “Take the Cake”, a song about an old lover with a Peter Pan personality who wants to kiss for old time’s sake. Memory teaches one to know better, but feeling a spark is worth a broken heart. Life goes on. – Steve Horowitz
19. Steve Dawson – Ghosts (Pravda)
Somewhere between Jackson Browne, John Hiatt, and Neil Finn lies the songwriting territory of Chicago’s Steve Dawson. An impassioned singer-songwriter who imbues his songs and recordings with folk, country, and a smattering of soul, Dawson also co-founded the alt-country band Dolly Varden and the twang-punk outfit Stump the Host. His solo works tend to be more heartfelt and direct, and his latest release, Ghosts, is solid proof of that.
Ghosts is a direct, full-band, live-in-the-studio effort. “Many of my favorite albums were recorded live in the studio,” Dawson explains on his Bandcamp page. “The arrangements on this new album were created on the spot, and rather than a collection of overdubs, the album is a performance.” Steve Dawson is an evocative, brilliant songwriter, accomplished musician, and arranger. Considering the popularity of many of the songwriters Ghosts tends to evoke, he should, by all rights, be a household name. – Chris Ingalls
18. Old 97’s – American Primitive (ATO)
American Primitive‘s lead single, “Where the Road Goes”, would have fit well on Twelfth. Old 97’s’ Rhett Miller calls the song a “spiritual travelogue” of his life in music, and it is at once a wistful reminiscence on the past and a wandering daydream into an unknown future, both of which only deepen his appreciation for the simple beauty he’s found in the present. This privileging of the present grounds the song on the new album, in dialogue with their older work yet as timely and engaged with the larger world as any the band has released to date. After spending a record ruminating about the past, Old 97’s are back and “better than brand-new”. More than anything else, American Primitive‘s simple gift of new music that confronts the present moment and all its apparent contradictions is what Old 97’s fans should be most grateful for. – Daniel Couch
17. Caleb Caudle – Sweet Critters (Baldwin County Public)
The American South is often referenced for its sweetness: its teas, cobblers, soul music, and the like. Caleb Caudle sings and writes like a Southerner. The title of his sixth release, Sweet Critters, suggests its rural authenticity, hokum, and sugariness. Who says “critters” these days? The North Carolina native affects a deep drawl, a slow cadence, and a head full of tropes that peg him in the tradition of classic country music from the Appalachian part of the country. He’s got a soft spot for the natural beauty of its woodlands and the memories (real and invented) of the people who live there, and that’s just part of the picture. – Steve Horowitz
16. Kevin Gordon – The In Between (Independent)
When Kevin Gordon sings about people like “Tammy Cecile” and “Marion”, the characters explode with the kind of gothic eccentricities that befit the region by not fitting in like Flannery O’Connor’s misfits. The singer’s accent accentuates the action with a lilting assonance. The wildness and tragedy of the protagonists’ lives seem like just part of everyday life in the Loserville of the American South. What else would one expect of those living outside proscribed behavior in a conformist conservative locale? These story songs could only take place in those environs despite the universality of their concerns—being a woman too wild for one’s peers, being gay in a traditional community. – Steve Horowitz
15. Lizzie No – Halfsies (Thirty Tigers)
Singer, songwriter, and multi-instrumentalist Lizzie No has said that the artist’s role is to expand their audiences’ awareness by exploring the musician’s private consciousness. The songs on her most recent release, Halfsies, do just that. The 11 tracks offer creative personal investigations into Lizzie No’s world. There are allusions to past lovers, the history of crimes committed and uncommitted, the search for community, and other existential matters. Despite her last name, she says “Yes”. The musician remains optimistic without ignoring life’s obstacles. We may always run without knowing where we are headed, but we are presumably moving forward. Like a drunkard finding their way home, one may not be able to predict the route but is confident about reaching the goal. – Steve Horowitz
14. Grayson Capps – Heartbreak, Misery & Death (Royal Potato Family)
Grayson Capps says he’s always been attracted to the dark side of folk and country music. Hence the title of his latest album, Heartbreak, Misery & Death. The Alabama singer-songwriter grew up listening to these melancholy tunes. He would sing them with his father, to whom the album is dedicated, with his father’s friends when they came over to play, or he would just listen to the records alone in the house as a young teen. On the new record, Capps croons the 16 tunes primarily by himself, aided by his longtime guitar-playing buddy Corky Hughes. The solo human voice gives the recording a lonesome sound, like a wolf howling in the woods.
The material ranges from traditional tunes such as “Barbara Allen”, “Copper Kettle”, and “Wake Up Little Maggie” to folk revival classics and country weepers like “Wreck on the Highway”, “Today”, and “Moody River” to singer-songwriter fare by Gordon Lightfoot, Randy Newman, and Jerry Jeff Walker. Capps delivers the material with respect for the sources yet still puts his personal stamp on the performances. Don’t let the album’s title fool you. These songs will lift your spirit by sharing their sorrow with you. Misery loves company. Capps’ album invites one to sing along. – Steve Horowitz
13. Willie Nelson – Last Leaf on the Tree (Legacy)
Last Leaf on the Tree is Willie Nelson‘s 153rd album and 76th solo studio release. This time, he’s released an album of mainly cover songs made popular by musicians with distinctive voices, such as Tom Waits, Keith Richards, and Neil Young, and made them his own through his rough but ready vocals and resolute guitar playing. He sounds older than he once was for good effect as he unflinchingly lays his soul on the line. Yes, he implicitly acknowledges I am old, but that has only made me wiser. He offers the wisdom of age in a soothing voice that lets you know he can still kick your butt if you are being a dick.
Nelson’s son Micah produced the record. He gives his father lots of latitude rather than confining him to a certain attitude. Micah and Willie cowrote one song together, “Die When I’m High (Halfway to Heaven)”, based on a line the dad said to his son while playing chess (‘If I die when I’m high, I’ll be halfway to heaven’”). The album expresses that kind of silly but smart intimacy. As the title tune attests, Willie may be the last of the great ones left. The rest of the Highwaymen (Waylon, Johnny, Kris) are dead, as are his other peers (George Jones, Merle Haggard, Ray Price). But Nelson is doing much more than just hanging on. He’s creating vital music that draws from the past and is still relevant today. – Steve Horowitz
12. Cassandra Jenkins – My Light, My Destroyer (Dead Oceans)
Brooklyn-born singer-songwriter Cassandra Jenkins references the “asteroid the size of a skyscraper” on “Betelgeuse”, one of several field-recorded interludes on her new album, My Light, My Destroyer. Lyrically, the record references things cosmic and celestial as a set of motifs tying the tracks together. Musically, Jenkins presents her own unique blend of Americana, folk, jazz, and ambient sound – carrying everything a step further from her two previous studio releases, Play Till You Win (2017) and An Overview on Phenomenal Nature (2021).
Music this textured is bound to take a few listens to get a hold of. Most impressive is how My Light, My Destroyer presents music that can be easily enjoyed – hooks and memorable lyrics abound – yet unravels deeper layers of meaning the more you dig in. Andrew Lappin’s production is lush or sparse according to the needs of each track, and Jenkins’s songwriting (in conjunction with various co-writers) is evocative despite its conciseness. If there were any doubt, My Light, My Destroyer earns Cassandra Jenkins a place among today’s most intriguing and accomplished singer-songwriters. – Peter Thomas Webb
11. Kelley Mickwee – Everything Beautiful (Independent)
Kelley Mickwee has a smokey voice mixed with honey that expresses pain and pleasure at the same time. There’s the joy of surrender in her dulcet tones. She sings about turning the other cheek and letting down one’s guard in sensual terms. Letting go takes effort, and that makes life sweeter. The ache in her throat suggests she’s been through it all. Her experience has taught her to be patient and observant. She’s learned that good things come to those who wait. As the album’s title suggests, Mickwee finds the beauty in everything.
Everything Beautiful is gorgeous due to its delightful sounds. Some of the songs may preach surrender as the way to happiness, a sentiment that can be problematic, but its joyful pleasures far outweigh its message of submission. One may have to lay down one’s arms to retain autonomy in certain situations. However, a person doesn’t have to lose to win, as Kelley Mickwee proposes. One can use one’s arms for other purposes, as the appeal of her voice suggests. – Steve Horowitz
