Reviews
This Is The Heavy – Mitchell Tenpenny
Mitchell Tenpenny’s This Is The Heavy is an album that lives up to its name, delivering a compelling mix of heart, depth, and musical weight. Released in September 2022, this sophomore effort further cements Tenpenny as a unique voice in modern country music. The album leans into the singer-songwriter’s signature blend of country, pop, and rock influences, while also diving deeper into personal stories, exploring themes of love, loss, and life’s complicated emotions. Tenpenny, known for his gravelly vocals and raw emotional delivery, manages to strike a balance between vulnerability and strength across this 20-track project.
The album opens with “This Is The Heavy,” an aptly titled introduction that sets the tone for what’s to come. It’s a bold and brash start, with booming instrumentation and Tenpenny’s unmistakable voice guiding listeners through a sonic landscape that’s both familiar and daring. Right from the start, it’s clear that this album isn’t afraid to take risks, both musically and lyrically. The production is slick but maintains enough grit to give the track a sense of authenticity. The title track itself is a nod to the themes Tenpenny will explore throughout the album—heaviness, in all its forms, from emotional burdens to the weight of love.
One of Tenpenny’s strengths as an artist has always been his ability to write songs that feel personal, yet universal. This Is The Heavy is filled with tracks that reflect on deeply personal experiences, yet they’re delivered in a way that feels relatable to the listener. “We Got History” is a perfect example of this. It’s a song about reflecting on a past relationship, acknowledging the good and bad, and ultimately making peace with what’s left. The lyric, “We got history / But the past is the past, and I’ll let it be” captures the bittersweet nature of moving on, and Tenpenny delivers it with a sense of emotional maturity.
On “Good Place,” Tenpenny tackles self-reflection and emotional growth, themes that resonate throughout the album. The song’s chorus is anthemic, with Tenpenny singing, “I’m finally in a good place / Took a little time, but I made space.” It’s the kind of track that speaks to anyone who’s gone through a period of personal transformation, making it one of the standout songs on the album. The production, with its layered instrumentation and polished sound, complements the song’s message, adding to its uplifting vibe.
What sets This Is The Heavy apart from other contemporary country albums is Tenpenny’s seamless blending of genres. He isn’t confined to traditional country music structures and sounds, instead choosing to incorporate elements of pop and rock, giving the album a broader appeal. Tracks like “Always Something With You” and “Elephant In The Room” showcase Tenpenny’s ability to mix catchy pop hooks with the storytelling tradition of country music. The former is a fun, upbeat song about the complexities of relationships, while the latter features a harder edge, with rock-leaning guitars that add weight to the song’s emotional tension.
“Bucket List” is another example of this genre-blending approach. It’s a song that veers more towards pop, but its message of living life to the fullest is grounded in country storytelling. Tenpenny sings about wanting to tick off items from his bucket list before it’s too late, but there’s a sense of urgency in the song that feels grounded in reality. It’s a song that reminds the listener of the fleeting nature of life, but with an infectious melody that makes it feel hopeful rather than somber.
Love, in all its forms, is a central theme of This Is The Heavy. Whether it’s the elation of falling in love or the pain of heartbreak, Tenpenny delves into these emotions with sincerity and depth. On “Do You,” he explores the vulnerability that comes with opening yourself up to someone, while “More Than Whiskey Does” deals with the emptiness of trying to fill a void with fleeting pleasures. These tracks highlight Tenpenny’s emotional range, moving from moments of joy to heartbreak with ease.
“Cry Baby” stands out as one of the most emotionally raw songs on the album. Tenpenny’s voice cracks with emotion as he sings about a relationship that’s unraveling, but he also conveys a sense of resignation, as if he knows that some things just aren’t meant to be. The minimalistic production allows Tenpenny’s vocals to take center stage, making the listener feel every word.
The album’s production is polished, yet it never feels overproduced. Each track is meticulously crafted, with layers of sound that add to the emotional weight of the lyrics. Whether it’s the swelling strings in “Good Place” or the driving beat in “Truth About You,” the production always complements the song’s message. Tenpenny worked with a team of talented producers who helped bring his vision to life, and it’s evident that every element of the album was carefully considered.
At the same time, the production doesn’t overshadow Tenpenny’s voice. His vocals are always at the forefront, guiding the listener through the emotional ups and downs of the album. The balance between instrumentation and vocals is one of the album’s strongest points, allowing Tenpenny’s storytelling to shine through.
While This Is The Heavy delivers on many fronts, there are a few moments where the album feels slightly repetitive. Some of the mid-tempo tracks, while well-crafted, blend together after a few listens. Songs like “Losers” and “Miss You Cause I’m Drinking” don’t quite stand out as much as some of the more unique offerings on the album, though they still fit within the overall theme.
However, these minor quibbles don’t take away from the album’s overall impact. This Is The Heavy is a cohesive body of work that shows growth from Tenpenny as both a songwriter and an artist.
This Is The Heavy is a testament to Mitchell Tenpenny’s ability to craft music that feels both personal and universally relatable. The album’s title reflects not only the emotional weight of the songs but also the heavy impact Tenpenny continues to have on the country music landscape. By blending genres and tackling themes of love, loss, and personal growth, Tenpenny has created an album that resonates on multiple levels.
Whether you’re a fan of country music or just appreciate well-crafted, emotionally charged songs, This Is The Heavy is an album worth listening to. It’s clear that Tenpenny has a lot more to say, and with this album, he’s proven that he’s not afraid to dig deep and get heavy.
Reviews
REVIEW: The Four Seasons – Henry Wagons
Henry Wagons’ latest album, “The Four Seasons”, is an enthralling exploration of alt-country music that fuses classic and contemporary styles. This album demonstrates Wagons’ distinctive talent for combining humour, feeling, and musical exploration into a unified and captivating listening experience that leaves you wanting more
Henry Wagons’ latest album, “The Four Seasons”, is an enthralling exploration of alt-country music that fuses classic and contemporary styles. This album demonstrates Wagons’ distinctive talent for combining humour, feeling, and musical exploration into a unified and captivating listening experience that leaves you wanting more and awaiting the chance to embrace this album in a live experience, dimly lit, smoke filled room, whiskey in hand.
Early in the album Wagons leads us into “Freight Train (Going South),” with eerie backing vocals and a piercing train horn establish the mood. With lyrics like “once you ride this train, you ain’t gonna want to ride trains no more,” Wagons ‘s deep, resonant voice evokes a feeling of exploration and self-reflection. Wagons’ talent for combining comedy and emotional storytelling is on full display in this and other songs like “I’m Glad I Fell In Love With You,” which incorporates pedal steel and sobbing mandolins.
Among the notable collaborations on the album are the duets with Queenie, a fellow Melburnian. Queenie’s vocals elevate the dramatic stakes of “Open The Door,” which culminate in a musically violent climax that is a stunning contrast to the introverted piano melody. The slower shuffle rhythm and pedal steel of “Surrender” evoke feelings of hesitancy and self-reflection, revealing a more sensitive side of the artist.
The instrumental interludes that distinguish “The Four Seasons” are a notable aspect of the album. With its hints of openness and independence muted by sinister undertones, “Autumn” evokes the atmosphere of a contemporary western mood piece. Leaning into a Sergio Leone-inspired soundscape, “Summer” has whistling and echoey brass that evokes visions of expansive, sun-kissed vistas. Minimalists in structure, “Winter” showcases acoustic guitar and swaying synths, while “Spring” provides a quick, energetic soundscape. Together, they make an impression and almost like brief intermezzo’s of the seasons and the landscape experience of Wagons’ himself.
The versatility of Wagons’ sound is on full display throughout the record. The semi-mechanized rhythm and swelling trumpets of “Park At The Station (Friends Of Mine)” create a new Melbourne ballad that delves into pragmatic crises and tales of friendship. With its bluesy tones and the touch of booze on the lips “Are You Impressed” gives the album yet another emotional edge that is hard to escape.
When experienced as a whole, “The Four Seasons” demonstrates Henry Wagons’ adaptability and originality. Sit back, relax, and let yourself be swept away by the album’s complex, lush soundscapes. Everyone from classic country music lovers to those seeking more contemporary sounds will find something they like on this album. With his deep voice, astute lyrics, and a wide array of musical influences, The Four Seasons is an outstanding alt-country album and one sure to feature in several end of year lists and awards nominations.
Reviews
REVIEW: Brighter Days – Dwight Yoakam
Country music icon Dwight Yoakam returns with Brighter Days, his first album of new music in nearly a decade. This release showcases not only Yoakam’s signature honky-tonk flair but also a more introspective side, inspired by his journey as a husband and family man. The album feels like a celebration of love, resilience, and the beauty of simpler moments, wrapped in Yoakam’s timeless blend of traditional and modern country sounds.
Country music icon Dwight Yoakam returns with Brighter Days, his first album of new music in nearly a decade. This release showcases not only Yoakam’s signature honky-tonk flair but also a more introspective side, inspired by his journey as a husband and family man. The album feels like a celebration of love, resilience, and the beauty of simpler moments, wrapped in Yoakam’s timeless blend of traditional and modern country sounds.
The album kicks off with “Wide Open Heart,” an upbeat, twangy anthem that channels Yoakam’s classic sound. It’s a song of love and commitment, where he opens up about finding strength in vulnerability. The track sets the tone for the album with its catchy rhythm and heartfelt lyrics, reminding fans why Yoakam’s voice and style remain so compelling.
The album progresses with Yoakam’s iconic insight to honky tonk and country music highlighting every track before “A Dream That Never Ends” slows things down, bringing a reflective, almost wistful energy. Yoakam’s vocals feel particularly emotive here, as he sings about cherishing the present moment.
Brighter Days also features three intriguing cover songs that showcase Yoakam’s ability to blend influences from across genres. The Carter Family’s “Keep On The Sunny Side” is a tribute to classic country, bringing a comforting sense of nostalgia. Cake’s “Bound Away” introduces an indie flair, and Yoakam’s take on Chris Hillman’s “Time Between” pays homage to The Byrds’ roots-rock legacy, infusing it with his own honky-tonk twist.
The standout track on Brighter Days has to be “I Don’t Know How To Say Goodbye,” a surprise duet with Post Malone. This unexpected pairing works beautifully, as Yoakam’s rich, earthy tone complements Malone’s raw, emotional delivery. Together, they fuse generations and highlight one’s legendary status in country music and the others respectful and soulful homage which makes this one of the standouts not only on this album, but also of 2024.
Throughout Brighter Days, Yoakam’s lyrics reflect his personal growth and new perspectives. The themes of love, family, and finding light in dark times are woven through each song, creating a cohesive narrative that feels genuine and heartfelt. After nine years, Yoakam’s return with Brighter Days reminds us of his undeniable talent for storytelling and his unique ability to bridge the old and the new in country music. Fans of Yoakam will find plenty to love in this album, which not only celebrates his legacy but also signals a new chapter in his life and career.
Australian honky tonk troubadour James Ellis has delivered a gem with his latest album, The Party Might Be Over. Packed with sharp storytelling and genuine emotion, Ellis brings his signature blend of wit and heart to this record, capturing the essence of honky tonk while giving it his own unique twist. Recorded remotely between Melbourne and Nashville during the pandemic, this album is a testament to Ellis’s dedication to his craft and his ability to adapt and thrive even in challenging times.
Ellis’s voice is at its finest in Lonely, Sad and Blue, one of the standout tracks on the album. It’s a soulful exploration of heartache that channels the spirit of classic honky tonk but with a modern sensitivity. Ellis’s rich, emotive voice brings out the raw pain in the lyrics, while the subtle twang of steel guitar gives the song a timeless feel. It’s the kind of track that feels both intimate and universal—a tune that makes you want to drown your sorrows in a dimly lit bar, yet find solace in knowing you’re not alone in your heartache.
Another highlight is the cheeky Don’t Drink By Yourself (If You Can’t Be Drunk Alone), a honky tonk anthem with a wink. The song combines clever, playful lyrics with an infectious rhythm, creating a tune that’s both entertaining and oddly comforting. It’s a lighthearted reminder not to take life too seriously, with an upbeat energy that’s impossible to resist. The rhythm section, recorded by some of Nashville’s top talent, drives this track with precision, adding to its barroom charm. This song is honky tonk at its best—fun, relatable, and brimming with personality.
Producer Micah Hulscher, known for his work with top Nashville acts, deserves immense credit for shaping the album’s sound. Hulscher brought together a stellar lineup of Nashville musicians, including legends like Fats Kaplin, Chris Scruggs, and Lillie Mae, who added their own magic to Ellis’s songs. Recorded at the legendary Creative Workshop Studios in Nashville, the album has a warm, rich sound that makes it feel like a live honky tonk performance, even though it was recorded remotely. The musicianship on each track is flawless, supporting Ellis’s storytelling with nuanced, heartfelt instrumentation.
The Party Might Be Over marks a significant evolution for James Ellis since his previous album, Country Lion. While Country Lion showcased his talent and raw potential, this new album feels more polished, more intentional, and more self-assured. Ellis has refined his voice and his storytelling, creating songs that are both relatable and timeless. He’s moved beyond the role of honky tonk storyteller to become a true artist, delivering songs that feel authentic and memorable.
In The Party Might Be Over, James Ellis has crafted an album that celebrates the highs and lows of life with humor, heart, and a whole lot of soul. It’s a must-listen for fans of honky tonk and classic country, and a promising indication of even greater things to come from this talented Australian singer-songwriter.
Listen to the Country HQ Spotlight On Podcast with James Ellis.
REVIEW: The Four Seasons – Henry Wagons
REVIEW: Brighter Days – Dwight Yoakam
