Superb caustic diatribe on modern times from seasoned artist.
We live in troubled times and one of the most honest and up front critics and musical commentators on the prevails of the difficult times we live in is Lucinda Williams. Having been brought up in a literate family where her father was a poet and literature professor words were a vital part of growing up for her and she first started writing at the age of six. Having suffered a debilitating stroke in 2023, Williams’ strident honesty and anger about the world she lives in continue unabated in her new music. Her already grizzled and raw voice is now even more emotive than before and this latest and sixteenth album builds on her library of material with a jaundiced, brutal yet enlightening overview of life in 2026. When performing live at the moment she openly says “Thanks for being receptive to my complaining” in a completely deadpan way.
Her current set of musicians includes ex-Black Crowes guitarist Marc Ford; bassist David Sutton, accomplished guitarist and co-producer and co-writer Doug Pettibone and now onetime Emmylou Harris drummer Brady Blade. We also have a smattering of carefully chosen guest artists, who are all impeccable in what they bring to this stirring and powerful set of songs.
Opener ‘The World’s Gone Wrong’ sets the tone perfectly for what’s to come. Williams sings about a classic couple trying to survive now. She’s a nurse and he sells cars, and they’re stretched to breaking point with their life challenges and amidst the craziness they desperately strive for any scraps of optimism, in the form of solace and togetherness. It features backing vocals from Black country artist Brittney Spencer and slowly builds to a suitably explosive climax.
‘Low Life’ is a slower and quieter song, with a lovely bluesy groove from the get-go and sounds very reminiscent of the feel of some of her classic older albums like ‘Car Wheels On A Gravel Road‘. Guitar and harmonica meld beautifully with William’s pained but glorious vocals. It’s a moment of resilience and positivity as the songs tells of the joy that a local bar can bring where we can escape the travails of life and kick off your shoes, have a few beers and most importantly listen to Slim Harpo. It’s co-written by members of indie folk troopers Big Thief and it’s one of the best on the album.
There’s a laid back reggae feel to ‘There’s So Much Trouble In The World’ which features co vocals from the wonderful Mavis Staples. Their two voices blend effortlessly on this cover of the Bob Marley classic and it’s a joy to behold. The rage at the heart of ‘Punchline’ is visceral as Williams spews out us her feelings of anger, frustration and incredulity around a slow burning bluesy groove. The angst continues with ‘Black Tears‘, another cynical comment at modern life, concentrating on the racism that often underpins American oppression.
Whilst this all sounds quite depressing, having heard the album as a whole, one has a feeling of quiet optimism with Williams secretly admitting ‘well, we’ve all got to cope with this somehow’. This album will proudly fit alongside her stunning back catalogue and needs your urgent attention.
