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Harvey Russell Reviews New Turnpike Troubadours Album “A Cat In The Rain”
On “A Cat in the Rain” Turnpike Troubadours give us a glimpse into the struggles of the past few years and reassure us they can still produce quality, red dirt country.
There were many times over the last four years when this record seemed inconceivable. With the band on an indefinite hiatus, following frontman and songwriter Evan Felker’s breakdown, there was a chance we’d heard the last of the Turnpike Troubadours.
With Felker getting sober, and with some firm guard rails around his return to playing live, the band began touring and recording again in 2022.
A Cat in the Rain is a comeback album. It’s release is emblematic of the unlikely, yet triumphant, story that is the Turnpike Troubadours of 2023. A while back (early 2019 to be a little more precise) things came apart at the seams. This was at a time when the band’s recognition and success was at an all time high. Put simply, without a functioning lead man and songwriter the band couldn’t go on.
Away from the distracting and escapist comfort of the road, and with the fortitude it took to face his demons, Felker turned things around. As with the band, it appears he has come out stronger on the other side. And with fans flocking to their shows in the past 15 months, support has only grown. There’s a lot of love at these recent live shows as well as gratitude and understated forgiveness. For the band, and for Felker in particular, there’s redemption in all of it.
Given the circumstances of its release it might be tempting to assess the merits of this album with wide and fawning eyes. Indeed, it’s existence is a feat in itself. On any assessment this is a strong Turnpike Troubadours album. But it doesn’t introduce a new direction or change of style, and it would be bold to say this is their absolute best effort yet. However, what it does do is ground the band firmly in its roots at a time when they need it most. It signals a brave return and a message that the band is back in town and hopefully here to stay.
I read somewhere that Felker is an Ernest Hemmingway fan. ‘Papa’s’ short stories, one of which shares the same title as this album, often employ the iceberg theory to writing (or theory of omission). This is where only limited but important facts about a story become evident, leaving much of the real structure under the surface for the reader to deduce. This should sound familiar to Turnpike fans. Felker often gives us clear descriptions of situations pertinent to his lyrical storytelling, yet there always a lot bubbling away under the surface. Many of the songs on A Cat in the Rain are no exception.
The band announces its return together, in an ominous and eerie fashion at the start of the opening track and first single, “Mean Old Sun”, with curdled backing vocals chanting behind a lone banjo. Lyrically, this is Felker defining the period he spent recently in the wilderness, putting in the work to be strong enough to return. This one hits with a heavy beat and makes a strong statement. It’s the anthemic “Gin, Smoke, Lies” ten years on, with the production befitting a world class country band.
“Brought Me” is next. And it’s a hard ask not to have this hook-soaked gem on repeat. This is the kind of track Turnpike fans will have been waiting for during the six years between albums. Combining country, red dirt and cajun influences this is an affecting love song to the Turnpike community to say thank you for waiting. There are also reassurances: “Oh now, it still beats steady/This heart I handed you for free/Should you ever need a thing/It won’t be hard to find.”
Written by emerging artist Lance Roark and bassist R.C. Edwards, “Chipping Mill” is a catchy, familiar track, jostling for air with classic upbeat Turnpike songs such as “Morgan Street” or “7&7”. “A Cat in the Rain”, “East Side Love Song” and dark, western “Lucille” have Felker contemplating his muse with varying degrees of intensity. Interestingly, the persistent character of Lorrie is noticeably absent on this record.
Felker does hunting songs well and “The Rut” is no exception. Reminiscing about family trips into the mountains, the songwriter uses this opportunity to reflect honestly about his struggles with alcohol and the resolve he is now applying to create a better life. “I don’t miss the taste of liquor or really anything about it/But the temporary shelter was a welcome compromise/Oh friend, I’m gonna ride out of the rut I’m in/A little elevation and an open-ended prayer.” The southern country cover of Ozark Mountain Daredevils “Black Sky” is an interesting choice and a change of pace for a record that, stylistically, is otherwise not a significant departure from previous Turnpike outings.
Producer Shooter Jennings has managed to maintain much of the familiar Turnpike sound while bringing things up a notch, certainly compared to the early albums. The band is playing as well as they ever have. And Jennings has allowed each member’s contribution to shine, perhaps moreso than on previous albums. The team effort is emphasised in the final moments of the last song on the record, a cover of Jerry Jeff Walker’s “Won’t You Give Me One More Chance” with the band singing their appeal in unison, just as they came in.
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.
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REVIEW: Barely Blue – Midland
A showcase for Midland’s skill in fusing classic country elements with contemporary sensibilities, “Barely Blue”—produced by the legendary Dave Cobb—contributes to the band’s unified and introspective discography.
A showcase for Midland’s skill in fusing classic country elements with contemporary sensibilities, “Barely Blue”—produced by the legendary Dave Cobb—contributes to the band’s unified and introspective discography.
Song number one on the album, “Lucky Sometimes,” establishes the mood for the whole thing. The album’s profound lyrics and powerful emotional resonance are brought to light by the song’s spare production, which lets the band’s harmonies sing out. Embracing serendipity and the bittersweetness of life’s unexpected twists and turns, the lyrics, “Sometimes, you just get lucky and you don’t ask why / It’s like falling up to heaven and coming up a seven / Every time you roll the dice,” encapsulate the qualities of the song.
The album’s title tune, “Barely Blue,” is one of its memorable moments. It takes a sombre, contemplative look at loss and perseverance, drawing on Midland’s long-embraced sound that was influenced by George Strait. with crisp and interwoven harmonies give the song a deeper meaning, which is both sad and hopeful. Like the rest of the album, this song showcases Midland’s talent for writing music that sounds as good now as it did decades ago.
With its beautiful guitar intro and heartwarming promise of new love, “Better Than A Memory” is another standout. With its upbeat tempo, catchy choruses, and wistful, nostalgic mood, “Vegas” puts a modern spin on the old “what happens in Vegas stays in Vegas” story .
“Baby It’s You” showcases Midland’s adaptability and desire to explore diverse sounds while the song’s silky vocals and Bee Gees-inspired beat set it apart. The trio’s distinctive harmonies are front and centre on the heartfelt “Old Fashioned Feeling”, setting the mood for a welcoming and comforting listening experience.
“Halfway to Heaven” and “Lone Star State of Mind,” the album’s last two songs, are among its best. “Halfway to Heaven” evokes the music of Waylon Jennings and provides a sparkling slice of country tradition that is at once familiar and new. Mark Wystrach’s powerful lead vocals are on full display in the final track, “Lone Star State of Mind,” a moving and emotionally packed tune. It is one of Midland’s finest songs ever recorded due to its acoustic-driven melody and emotional lyrics.
“Barely Blue” has a few gripes, one of which is its length. There are eight songs on the album, which isn’t very long and leaves listeners wanting more. The album would have felt more finished with a couple of extra tracks, even though the song quality is very excellent. Nevertheless, this small criticism does not diminish the album’s overall influence.
Many consider “Barely Blue” to be the album that really set Midland apart from her peers. With a more mature and contemplative sound that is cohesive and engaging, it is less chaotic than some of their past work. The album delves further into the band’s conventional influences while simultaneously venturing into new musical realms, creating a set of songs that can be played again and again, revealing new nuances and layers with every listen .
On “Barely Blue”, Midland have captured the band’s development as artists and chronicles their journey over the last decade. The album exemplifies Midland’s talent for making music that stands the test of time with its combination of classic country elements and contemporary production. It is layered in emotional depth and complexity, whilst still staying true to the bands signature mature approach to country music.
Country music sensation Tanner Adell is set to make waves this summer with her latest single, “Cowboy Break My Heart”, as the song has quickly become a fan favourite, capturing the essence of heartbreak and resilience with a catchy, upbeat melody.
Adell’s new track is a perfect blend of traditional country and modern pop influences, showcasing her unique style and vocal prowess. Written by Adell along with Akil “Worldwidefresh” King, Stephen “Di Genius” McGregor, Will Weatherly, and Anthony Germaine White, “Cowboy Break My Heart” tells the story of a love gone wrong, inspired by a past relationship with a Dallas Cowboys fan. The song’s infectious chorus and relatable lyrics make it an instant anthem for anyone who’s ever experienced heartache.
The release of “Cowboy Break My Heart” comes just in time for Adell’s highly anticipated performances at the Ridin’ Hearts festival in Sydney and Melbourne. Fans are eagerly awaiting her live renditions of the new single, which promises to be a highlight of the festival. Adell’s energetic stage presence and powerful vocals are sure to make her performances unforgettable.
Produced by LVRN Records, the single marks a significant milestone in Adell’s career. Her debut performance of the song at the BET Awards earlier this year was met with widespread acclaim, further cementing her status as a rising star in the country music scene.
As Adell prepares to take the stage at Ridin’ Hearts, “Cowboy Break My Heart” is poised to become the soundtrack of the summer, resonating with fans across Australia and beyond. With its blend of heartfelt storytelling and catchy rhythms, the song is a testament to Adell’s talent and her ability to connect with listeners on a deeply emotional level.
REVIEW: The Four Seasons – Henry Wagons
REVIEW: Brighter Days – Dwight Yoakam
