In his excellent review of the album Revival, published in these hallowed pages upon its release in 2023, my esteemed colleague Michael Macy compared the songs of Eric Hagen to those of the great American realist painter Edward Hopper, stating that “they invoke alienation and pain in ways that are both disturbing and beautiful”. This revealing insight, which innately recognised the depth and complexity beneath the apparent simplicity of the sparse arrangements, was pivotal in my personal discovery of one of the finest singer-songwriters to appear on the americana music scene in recent years.
Based in the Midwest, Hagen’s well-rooted sound rings with perplexing authenticity, as if he has a direct line into the wellspring of timeless country classics. His soulful voice is a major factor in his overall sound that draws positive comparisons to some of the greats of the americana genre, from Greg Allman to Chris Stapleton, as if soaked through the decades in a barrel of blues and gospel. The scant orchestration of his songs relies heavily on the classic triptych of guitar, drums and bass, while the occasional subtle use of organ and violin delivers the necessary colour and ambience. The absence of any musical clutter is paramount to allowing Hagen’s narratives to take centre stage, the sagacious and heartfelt lyrics acting as an ode to the timeless dance of joy and sorrow, all wrapped in the faded splendour of a bygone age.
It was as the restrictions due to the Covid virus began to be lifted that the name and music of Eric Hagen began to reach a wider audience. In 2021, he released a five-track EP entitled Crossroads Motel with the Red River Revival, who were again in attendance on the release of the live album Live at Al’s Bar, that came out the following year. However, it was his first solo album, Revival, that proved to be a real game-changer, lifting Hagen’s profile with widespread critical acclaim, including here, where it received a 9/10. During his in-depth review of the album, Michael Macy elaborated on how Hagen’s songs provided just enough detail to serve as an invitation to fill in the gaps, allowing the listener to use the songs as a soundtrack to their own disappointments. He again was drawn by the comparison between Hagen’s songs and Hopper’s art, particularly on the song Dying Alone, which he suggests “could be describing the couple in Hopper’s Summer Evening”, and again in his closing paragraph, he concludes that “Like Hopper’s Nighthawks at the Diner, Revival is emotionally challenging and beautiful”. Having come to know the album well since its release, I find myself continuously drawn to Macy’s juxtaposed comparisons between songwriter and realism artist, but also the way he perfectly captured the sense of intimacy and alienation in Hagen’s delivery and how that raw emotion was matched by music, “which mined the very veins that provide the ore, the raw material for americana – blues, rock, folk and country”. At a time when the blueprint for what is americana music has become somewhat blurred around the edges, this is the real deal.
Building off the moment of the previous year’s album, Hagen released the five-track EP Memories Don’t Love You Back, of which I had the good fortune to review as part of that January’s EPs Round-Up article. I remember being immediately blown away by the five emotionally charged numbers that were as rewarding as they were challenging. By that I mean that Hagen’s narratives never offer the listener a free ride; this is anything but easy listening, and yet the time and attention invested in repeated listening rewards with an intense connection that very few songwriters can deliver. Opening number Ponderosa Pines epitomises so much of what Hagen brings to the table; some delightful melodic electric guitar decorates the first few bars before Hagen steps forward, his impassioned vocal delivery immediately finding the sweet spot as his poetry unveils a tale of aching and loss that has no happy ending. The mood is lifted momentarily on the following number, Sometimes, where the introduction of female backing vocals during the chorus creates a gospel vibe that feels almost anthemic. The title track draws comparison to Steve Earle at his most reflective, whilst the penultimate song, 3am, sees Hagen returning to his trademark deeply personal narratives that offer as little respite as they demand pity. This stoicism is brought to a perfect conclusion on the closing number, The Truth Never Hurts, where again the only pain relief is to be found in the sweetness of the melody that builds in crescendo before fading to a final release. It is extremely powerful writing that just inspires you to go back and start listening all over again.
Almost exactly twelve months later, whilst perusing through the list of EPs submitted for review for the first Round-Up article of 2025, my heart skipped a beat as I saw Hagen’s name alongside a brand new five-track offering entitled Americana Lonesome. Okay, it might not have been the full-length album follow-up to Revival that I’d been craving; however, it did prove to be the perfect substitute, offering further proof, if proof were required, of the brilliance of Hagen’s song craft. Once again, the power of his heartfelt narratives stood front and centre, delivered with such authenticity and integrity, impassioned and yet sinister, disconcerting and beguiling all at the same time. Hagen’s evocative vocal delivery drips with blue-eyed soul, and each track cements his growing reputation as a songwriter, with Accuse Me going on to be nominated for Americana Song of the Year at the 2025 Josie Music Awards. Elsewhere, the opening number, Deja Vu, is just delightful, with a fingerpicked acoustic guitar supported by a subtle mandolin providing the bulk of the musical arrangement for a melancholy tale that tugs tightly on the heartstrings. Add to this the resilience of Ain’t Afraid of Dying, the uplifting Find You a Woman and the exquisite pedal steel found on closing number Hell or Highwater, and it comes as little surprise that Americana Lonesome would find its way into the End Of Year Top 10 EPs.
Now, having waxed so lyrically and enthusiastically about the possibility of a new full-length album from Hagen, I have a confession to make. I completely missed its release. How? I’ve no idea, and my only feeble excuse is that it wasn’t reviewed in these hallowed pages. Why? Again, I’m at a loss and can only assume that the album was never received at AUK Towers. Anyway, time to put things right. Make Country Sad Again first saw the light of day in mid-October 2025 and immediately finds Hagen leaning into the kind of country music that values songwriting over image and honesty over polish. Rooted in classic honky-tonk, country rock and americana, the album mixes sharp storytelling with a worn-in sound built around pedal steel, telecasters and live-room energy. Like many of his previous compositions, the songs focus on flawed people, complicated relationships, small-town restlessness, and the tension between traditional and modern culture. Rather than chasing trends, the album feels grounded in the spirit of the records that inspired it, direct, human and unafraid to sit with uncomfortable emotions. Comprising just eight songs and barely twenty-five minutes in length, it can be argued that the album is a little thin on the ground, but where it lacks in quantity, it more than makes up for in quality, with all Hagen’s trademarks: soulful vocals, tight, uncluttered arrangements and fantastic storytelling through song. Personal favourite changes every day, but Second Hand Smoke is right up there with the best of his work. On the back of the album, Hagen was voted Songwriter of the Year at the Midwest Country Music Organisation Awards earlier this year, while Make Country Sad Again was voted album of the year by the Wisconsin Area Music Industry. It may just be that Eric Hagen’s time has truly come, so if his name is still new to you, do yourself a favour and listen to the attached tracks and be prepared to be blown away.
