For years, Nashville-based singer-songwriter Jordie Lane—who was born in Australia—has been a major player in the business. Renowned for his distinctive mix of Americana, folk, and rock, Lane has enthralled listeners all around with his musical ability and narrative skill. With the release of his most recent album “Tropical Depression”, Jordie Lane is at a turning point in his career. After spending some time talking with the artist recently about the creation of “Tropical Depression,” its themes, and the effects it has had on Lane and his listeners, it’s time we shared insights from our interview and our thoughts on the tremendous new album.

Made in Nashville, “Tropical Depression” is a testament of Lane’s artistic development, further supported by his ability to assemble a trifecta of key behind the scenes people who have supported him in pulling this album together the right way. With Grammy nominated producer, engineer and instrumentalist Jon Estes (Kacey Musgraves, Dolly Parton, Rodney Crowell) producing the album, the mixing by iconic engineer Noah Georgeson (The Strokes, Devandra Banhart, Marlon Williams) and mastered by Juno Award winning Phillip Shaw Bova (Feist, Father John Misty, Angel Olsen, Bahamas). While the mixing and engineering from Georgeson and Shaw respectively embrace the artists songs like a hand holding a glass of whiskey, fusing genres and sounds together in a sublime harmony that is this album, it is Estes’s influence in the polished but raw sound of the album, which perfectly complements Lane’s introspective lyrics.

Talking with Jordie Lane on a recent trip back to Australia, he openly discussed that he had difficulties along the way in producing “Tropical Depression”, as the title of the album pays homage to Lane’s personal battles with mental health and his obsession with severe storms, while the tone of the album reflects this duality—between quiet introspection and strong emotional outburst.

Discussing deeply intimate and ideas of mental health during our interview, Lane demonstrates a beautiful resilience, and a sublime human condition, discussing with me how “Tropical Depression” songs invite listeners into his world by their honest and vulnerable quality. Listening to the album after the interview, I immediately start with the eerie rhythm and thoughtful lyrics of the first song on the album, “Back, Out There,” which sets the tone, before songs like “The Changing Weather” and “Empty Room” probe Lane’s experiences with anxiety and depression.

“Friends” a moving meditation on the value of personal connection throughout trying circumstances, is among the album’s best tunes. The straightforward but strong words of the song will surely appeal to listeners and serve as a reminder of the power contained in relationships, whilst “Blame Me If You Want To,” another noteworthy song, highlights Lane’s skill in fusing comedy and sarcasm with a sobering topic. This is the Jordie Lane who I first met several years ago in Nashville and was immediately taken in by his wit and lighthearted take, not just on music, but life in general. It’s fantastic to know that this side of this diverse artist is still as strong as ever.

With influences ranging from Bob Dylan to Neil Young, Lane’s musical approach is a singular mix of Americana, folk, and rock. “Tropical Depression” sees Lane stretching the boundaries of his genre by experimenting with novel sounds and arrangements. Rich vocal harmonies, ambient synths, and deft guitar work abound on the luxuriant and multifaceted record.

The way “Tropical Depression” uses its music to portray a broad spectrum of feelings is among its most arresting features. Songs like “New Normal” and “Been Lucky” are more lively and uplifting; tracks like “It Might Take Our Whole Lives” and “Internal Dialogue” are pensive and sad. This vibrant spectrum is evidence of Lane’s adaptability as a performer and lyricist.

A few weeks since it’s release, both fans and critics have praised “Tropical Depression” extensively since its premiere. The album has drawn compliments for its emotional resonance, musical complexity, and literary profundity, further complimented by the early shows on his current Australian tour, during which time “Tropical Depression” debuted at #1 on the Aria Country Albums chart.

In Lane’s career, “Tropical Depression” represents a turning point both creatively and monetarily. The popularity of the record has opened Lane to new opportunities that have resulted in publicised partnerships and appearances, including securing a label deal from ABC Music/The Orchard for this album (see below for the best signing of a contract ever!). Lane has a devoted following and earns critical praise since he can relate to listeners on a very personal level and that the industry now understands this is further validation, not just for the artist but for the long time supporters of his music.

Apart from its critical and chart triumphs, “Tropical Depression” has significantly affected Lane’s personal life as well. Making the record let Lane face and sort his own mental health issues, which helped him to find fresh clarity and direction. The songs and general tone of the album clearly showcase this personal development since they express hope and resiliency.

Set against rich, evocative soundscapes, Jordie Lane’s “Tropical Depression” is a remarkable investigation of the human psyche. Among Lane’s albums, this one stands out for its reflective lyrics and dramatic range. As Lane develops as an artist, “Tropical Depression” attests to his skill and commitment. The popularity of the album is a testament of Lane’s capacity to establish a connection with his audience by means of his music, therefore influencing his career as well as rewarding his listeners.

Catch Jordie Lane on the final leg of his East Coast Tropical Depression tour this week, before he returns to tour the rest of Australia in Oct/Nov: 

The April Family and Michael Carpenter and The Banks Brothers have united for a new single “I’m Only Sad, a classic, (mostly) acoustic country ballad, anchored by the beautiful piano playing of lead guitarist Casey Atkins, with the acoustic guitar and upright bass of Carpenter framing singer Kylie Whitney’s plaintive country soul lead vocal performance. Carpenter also takes a verse, along with singing the harmony, to emphasise two sides of the story in the tale of post breakup longing.

Zane Banks on lead acoustic guitar and Jy-Perry Banks on pedal steel take care of all of the colour throughout the song, weaving in between the melody to fill out the aural story, while Atkins, Carpenter and Zane Banks provide the exquisite backing vocals in the bridge.

Carpenter says of the song, “We’d wanted to do a collaboration between all of us for some time, and while it would have been easy to do a ‘standard uptempo country thing’, we all feel this song gives us a chance to show how sensitive the two ensembles can be in their understanding of musical storytelling.”

The song is also a bittersweet end of chapter for The April Family, with Casey Atkins recently announcing a desire to step aside from the recording band. He will continue to play any live shows possible, and contribute to sessions when he and the band can make it work.

Kylie Whitney says, “We have loved Casey’s contributions through all of our work, and he is always welcome in what we do. He is part of our family. But we look forward to opening ourselves up to fruitful creative times, embracing Michael’s many projects, and maybe even doing some solo projects of my own.”

Sydney based Alt Country combo The April Family continue to carve out a unique place in the Australian country music landscape. With their unique blend of Alt Country rawness, featuring singer Kylie Whitney’s soulful vocal textures and unique writing style, producer/multi-instrumentalist Michael Carpenter’s production expertise and harmony skills and lead guitarist Casey Atkins’ distinct twang and harmony prowess, the ensemble have created a body of work and a loyal fanbase, while pushing themselves creatively in finding their voice.

Formed in 2016, The April Family found it’s feet quickly, establishing a vital live presence in Sydney, and releasing a string of singles in the lead up to their debut album “What We Know Now” released in 2017. The successful album spawned 3 well received singles, with strong airplay and good chart results. The album showcased the combination of West Coast 70’s classic country rock, high production values and the band’s showcase 3 part harmonies.

“One Stoplight Town” is the latest single from country singer/songwriter, Beth Lucas, available for pre-save now and out on August 16. 
 
The story of young love, “One Stoplight Town” was written solely by Lucas and recorded at Airlock Studios (Ian Haug of Powderfinger).
 
The recording session was part of the prize for Lucas winning the 2023 Ekka’s Country Music Showdown. In addition, the acoustic guitar used on the record was also part of the prize package, from Riffs & Licks Music Brisbane. Released one year on from her win, it’s the first song from Lucas’ upcoming project, “The Airlock Sessions.”

 
Beth’s live band features on the recording, with Peter Eckel on banjo, Scott Eckel on drums, Daniel Colborne on bass, and Daniel Henwood on electric and lead guitar. The track was recorded by James See, mixed and mastered by James North, with artwork by Lix North and photos by Elliot Compton.

https://ditto.fm/one-stoplight-town

Beth Lucas returned to the industry in late 2021 with a new alt-country sound and has been busy carving her path within the country space, with no signs of slowing down. She recently joined viral US country artist, Alexandra Kay, on her maiden Australian headline tour, opening both Sydney and Melbourne shows.
 

2024 has seen Beth release two (2) new country offerings so far: ‘Rearview Mirror’, an anthemic story of self-reflection and perseverance and ‘Pieces’, a rock-charged break-up collaboration with Mark Lavender. Recorded and produced by James North (Karise Eden, Tom Oliver, Andy Penkow) and collaborating with US drummer, Travis McNabb (Sugarland, Megan Moroney, Little Big Town), ‘Rearview Mirror’ features Lucas’ signature acoustic guitar layered with emotive harmonies and a sound that is both unique whilst also placing her in the same arena as rising country stars such as Ella Langley, Laura Frank and Bailey Zimmerman. Penned by Nashville-based songwriter, Michael Adams, ‘Pieces’ shares both perspectives of a relationship breakdown and features Australia’s Peter Eckel (Open Season Band) on banjo.
 
In August 2024, Beth will compete as a Top 10 finalist in the Mothertone Gympie Music Muster talent search, one year on from taking first place in The Ekka’s Country Music Showdown talent search.