We will be publishing our albums of the year from tomorrow starting with numbers 20-11, as chosen by AUK’s writing team. But which albums almost made the list? Here are those which didn’t quite reach the giddy heights of our overall chart, the rest of the best as it were, but many were the number one choice for one AUK writer, and if your favourite didn’t make the list, don’t worry – as the old adage goes, opinions are like arseholes.
Briscoe “Heat of July”
So much stuff lands on our virtual doormat over the course of the year that something has to be really good to standout – fortunately for Austin duo Briscoe, there second album is better than really good. As our reviewer noted at the time, the songs on “Heat of July” have an easy swing; a polish of skill and touch, but combined with the looseness of a campfire singalong. There are no weak songs on the album, and plenty of standouts making it a really a hugely satisfying listen from start to finish. For anyone who likes their americana to be closer to the folky end, but still wants something to play in the car with the ‘top down’, this is a record that is full of fresh air, clear skies and open roads. (MW)
I’m With Her “Wild and Clear and Blue”
Released eight years after their debut, “Wild And Clear And Blue” is I’m With Her’s second album and showcases the multiple talents of the three principals. Sara Watkins’ fiddle playing is outstanding. The songwriting is top drawer; while credits are shared equally the lead vocal is switched around. Instrumentally, Watkins, Aoife O Donovan and Sarah Joarosz are ably supported by producer Josh Kauffman. On top of all that, the vocal arrangements and harmonies are to die for, with ‘Faultline’ and ‘Rhododendron’ being particular standouts. (RP)
Crys Matthews “Reclamation”
As a proud Black, Butch lesbian currently living in Trump’s America, this is hugely poignant and angry album. That said, it is full of hope, even though sadly that may have been misjudged. The honesty she shows about her relationship feels very bare and almost intrusive. It feels like a brave album touching on trans and gay issues, the huge hypocrisy of Bible Belt Americans and also the terrible toll domestic violence takes (Matthews lost two family members to abuse). All that said, it is a really good listen to. She has a great Tracy Chapman-type of voice, and it is beautifully produced. If this album had been made by a better-known artist, there;s no doubt it could have become a seminal, influential piece of work. (RT)
Pat Carter “Love In a Time Of Capitalism”
Socialist Pat Carter’s album was the one that stirred the emotions the most this year. His detailed and empathetic tales of those at the bottom of society’s heap who have been hit by life’s cruelties were very moving. His thoughts on how capitalism affects personal relationships- love affairs, for example- are thought-provoking. And there were some barbed political comments, as you would expect. His music here, with country and soul added in skilfully, grows on you very nicely, so that repeated listening is always a pleasure. (AR)
Red Birds “Things We Thought We Were Done With”
Post-pandemic, lo-fi magic from Maryland’s Red Birds. Zoë August’s vocals are plaintive and perfectly suit the lyrical content. Musically, it is a simple record using minimal drum and bass and an acoustic guitar. The track ‘The James’ captures the essence and brings many ghosts back to “sing along”. The band wanted you to feel that you were out there, late evening, on the porch with the crickets swaying behind them. They achieved this and more, an astounding collection of songs delivered in a unique blend of indie folk. On release, it sounded like a record of the year and was never quite surpassed. (AS)
Mary Chapin Carpenter/Julie Fowlis/Karine Polwart “Looking For The Thread”
A collaboration of three female artists is nothing new these days but this coming together of an Americana legend with two of folk’s most celebrated voices was both a surprise and a joy. This is a gorgeous album, the writing and lead vocals evenly shared, with each song nothing less than a balm for the soul in what has, for the most part, been such a grim year. Other albums may have made more of an impact in 2025, but none celebrate the female voice quite like “Looking For The Thread”. (PC)
Steady Habits “Deviate”
Following on from Brown Horse last year, another UK #1 for me… despite travelling from Inverness to Glasgow last month to find out they’d cancelled their gig in Audio. I still can’t stop playing the eight tracks on Deviate from start to finish. I defy anyone not to like this album. Some serious songwriting, but with some great playing and a hopeful energy. Familiar yet fresh. Often veering into pop but personal, PROUD and punchy. Sean Duggan proves humanity still has a chance, despite being born in the USA. (AD)
Hannah White “Fine Day”
On her latest album, ably backed by husband and guitarist Kieron Marshall and members of her Anglo-Norwegian band, Hannah White covers a range of emotional bases in her songs with sorrow, tragedy and anger well-represented but performed with her characteristic resilience and maturity. In the middle of this she creates a song around butterfly metaphors. White’s voice and delivery knit the words and music together into an impressive and enjoyable whole. Those who had their first listen at the 100 Club launch show can testify to its real-time quality.
Margo Price “Hard Headed Woman”
After the psych-country of “Strays”, Margo Price’s 2025 release sees a reversion to more traditional country. This is no bad thing as the strand she follows is that of the tough, independent woman. This is evident on the title track and subsequent ‘Don’t Let The Bastards Get You Down’. There’s an old-school duet with Tyler Childers (‘Love Me Like You Used To Do’) and also the haunting ‘Close To You’ mixing the personal and the environmental expertly. The deluxe version features four additional songs including a duet with Billy Strings (‘Too Stoned To Cry’). Classic and class. (RP)
