The year’s best folk albums transcend genre boundaries, yet each entry remains firmly grounded in the folk ethos of connection and storytelling.
Father John Misty has come as close to perfecting his artistry as anyone can. Mahashmashana is a masterpiece of exceptional songwriting and performance.
Mount Eerie’s new LP takes listeners on a slow journey through somber moods and reflective soundscapes, rich with poetry and imaginative storytelling.
Ross Goldstein’s Blunders embraces the melody and inventiveness of the best pop music but is still unusual and daring enough to stand out.
Laura Marling’s eighth record, Patterns in Repeat, is a full bingo card of simplicity and sophistication—a win-win for her, listeners, and critics all around.
Drawing on a range of influences while incorporating a variety of guest musicians, Yasmin Williams has created her most ambitious music yet on Acadia.
With Lea Thomas and her gifted band at the helm, she has created nothing short of a widescreen, ethereal, sonic gem that one can easily get lost in.
Adeline Hotel’s ever-prolific Dan Knishkowy turns inward on his new album, Whodunnit, divorced but devoid of bitterness or blame.
What if they had a folk festival and nobody protested? Evanston, Illinois hosted its first folk festival without politics from its stages.
The different lyrical, musical, and emotional avenues indie folk’s Sima Cunningham travels throughout High Roller shows an artist overflowing with ideas.
Singer-songwriter Mark Ambor prefers the sunlight over the moon, literally and metaphorically. Living for today doesn’t have to mean forgetting the past.
On her third album, This Is How Tomorrow Moves, Beatrice Laus, also known as beabadoobee, blends folk and rock to create a timeless fantasy world.
