If the song “A Boy Named Sue”, as a specter of queerness, haunts country music, Lavender Country’s Patrick Haggerty is country’s queer saint and Andrew Sa is a credible beneficiary of queer country’s legacy.
With Roses, Widowspeak further hone their songcraft while again offering entrancing soundscapes. Additionally, they flesh out their Americana proclivities.
Often imitated but rarely duplicated, SUSS’ “ambient country” sound is unmistakable, and with their latest album, they haven’t slowed down a bit.
On Sol Y Sombra, Rose City Band offer an honest emotional reflection for our times with music that propels forward with their same carefree style.
Ambient country’s SUSS thrive on moody atmospheres and calm amidst the tension. Their music is imbued with the beauty and mystery of the American West.
Mikaela Davis builds her latest LP as a progression, moving further into rock territory as if demonstrating across an album the fluidity of genre and her art.
Dougie Poole’s sardonic humor, mixed with his love of country music’s storytelling past, turned him into a cult icon. Out of the pandemic is born a playful, wistful new album.
Dougie Poole’s The Rainbow Wheel of Death has the genuine pathos of country’s best songs, with characters searching for love and longing for redemption in bars and dusty halls.
CAZIMI is Caitlin Rose’s first new full-length LP in almost ten years and it’s filled with people overwhelmed by changing circumstances and uncertainty.
Erin Rae explores life’s dualities on the cosmic countryish Lighten Up. Rae constructs her songs like Möbius strips showing the unity of the dissimilar sides.
Lilly Hiatt’s Lately offers pandemic inspired poetic reflections on love, desire, and connection in a menagerie of musical styles.
Queens-based artist, Nico Hedley’s debut Painterly is full of dark, alt-country masterpieces that go down like a good stiff drink.
