Monthly Archives: January 2026

Album Review: Trousdale – Growing Pains

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photo by Tessa Carroll; photo courtesy of Big Hassle

The Story Behind My Discovery of This Album

If you’re lucky enough to live in a town where your public library membership includes access to Freegal, you’ll know that it’s a cool way to accumulate songs and albums that are missing from your collection, as well as a great way to sample new artists. (Yes, you can do that with Spotify, but you can download the MP3s [a certain number of songs per week – at my library, it’s three] “free and legal” from Freegal. I mean, your library is paying for it, so it’s only free from the downloader’s perspective.) Last year while perusing Freegal, I stumbled upon the band Trousdale and their 2025 album Growing Pains, so I downloaded three songs each week for four weeks until I had the whole record.

Album Review of Trousdale: Growing Pains

Growing Pains, which you can find on all of the major streaming services using this link, seems to have been another step forward for talented trio Trousdale, with widespread touring and even a performance at the Grand Ole Opry coming since the release. As the band continues to draw more and more attention within its core musical subgenre, though to be fair it’s hard to pin them down to a single subgenre, the way music fandom is so segmented, many of you who are likely to love Trousdale’s music may not have heard of it yet. Well, if that’s the case, I’m here to remedy that. This is a group that delivers the sort of tightly-performed, well-written songs with crisp production that’ll easily become favorites among a broad swath of music fans. Get on board as a Trousdale fan now, enjoy this album, and join me in looking forward to what comes next!

image courtesy of Big Hassle

My initial impression of Trousdale was that of a song-driven, pop-rock act, with a rich, sunny sound and monster hooks. A few songs into the disc, the Americana and pop-country flavors become apparent, which is why you’ll often find Trousdale listed as an Americana or alt-country act, but trust me, this is broad-appeal tuneage.

Growing Pains is an album you might want to start from the beginning, as the first two tracks will reach out and grab you hard, and then you can settle into the rest of the album’s outstanding songs (you’ll probably find your personal favorites somewhere in there), with a couple more big-sound attention-grabbers mixed in for good measure.

Personally, I wonder how much the album’s initial raw-bluesy guitar chord predisposed me to like this band and this album. Oh, man, what crunch! Beyond that, I hear shades of Fleetwood Mac’s “Don’t Stop” in the opening measures of the disc-opening title track, “Growing Pains,” which settles into a raucous, thumping, energetic rocker that blends the dominant, pounding rhythm of a Bad Company number with the big, open, upbeat, tuneful energy of an ELO pop-rocker but with harmonies you’d expect from a pop vocal trio. It’s a kickass song that should have introduced Trousdale to the broader public, and it still might, as it’d be an ideal song to accompany an energetic sequence in film or TV. (Yes, I’m callin’ it top-shelf montage music.) As for the listener experience, before too long, you’ll find yourself singing along – probably with the background vocals – and you might even catch yourself swooping and dipping along, dancing in your seat.

photo by Alex Lang; photo courtesy of Big Hassle

“Over and Over” has a little bit of a sidewinding rhythm and a playful, funky vibe, with a catchy-af beat, killer three-part harmonies, and an overstuffed bag of hooky moments. It’s another great potential hit song, and Trousdale’s just getting started.

Third track “Lonely Night,” while clearly pop-rock and sporting a rather sparse instrumentation during its vocal-heavy spots, contains a bit of that Bad Company crunch early on (not obviously, but once I heard it on maybe the thirtieth listen, now I can’t unhear it) and fun, dancing guitar riffs in a late-song bridge, all while the chorus delivers a modern spin on classic hit vocal-pop styling. I know some of you are going to drift toward this Trousdale song as your favorite.

Indeed, Growing Pains is a record full of potential personal favorites. The songs are lyrically relatable, potentially striking a slightly different chord with each individual listener given the relatively universal themes explored by most of the tracks. The vocals are top-notch. The music is catchy. And the style is widely-accessible, with guitar riffs for rockers, pop-country tones from time to time for fans of artists like T-Swift and Ashley Cooke, with enough stylistically diverse elements and harmonies to appeal to fans of vocal pop and pop-rock music, yet insightful-enough lyrics to appeal to folk-rockers and other lyric snobs.

“Want Me Back” is one of those lyrically-thoughtful numbers with enough hook and twang to reach audiences from pop to pop-country. Meanwhile, “Death Grip” and “Second Hand Smoke” are a pair of well-crafted numbers whose varied degrees of hauntingness remind me a bit of Clare Bowen, with “Death Grip” recalling some of my favorites from her eponymous solo album, while “Second Hand Smoke” is slightly more the sort of thing her Scarlett character may have absolutely killed with on Nashville.

“Don’t Tell Me” kicks off with an attention-grabbing guitar riff, just as the title track did, but then chooses a tempo and rhythm that’s very country. Or maybe it’s the lyric, as the chorus begins with “Don’t tell me you love me to keep me from leaving. Stop callin’ me ‘baby,’ I don’t want to hear it.” Yeah, that’s kinda country. Coolly, as well, after the first chorus, just as you thought maybe the song would settle in, the music levels up, pulling you in. I know Trousdale doesn’t sound like Shania Twain, but this is definitely the sort of song I could hear as a Shania hit.

photo by Alex Lang; photo courtesy of Big Hassle

“Warm Shoulder, Cold Heart” is a soft number that really highlights the band’s vocal talents. If that’s your favorite thing about Trousdale, this will likely be one of your favorite songs, while “Sleeping At the Wheel” should appeal particularly to folkies, though again, for listeners who simply enjoy great songs delivered by top-shelf musical talent, you’re going to enjoy every song on this album.

“Save Me” adds a funky rhythm and a great big sound, while delivering a master class in lyrical attitude. “Vertigo” is an energetic, spirit-lifting example of classic, old-school, radio-friendly pop-rock that pushes persistently forward in the verses while exploding in the chorus. And “Last Bloom” closes the album with a soft, modern vocal pop-rock vibe that sets the listener down lightly, befitting an album-closer, as a lush one-and-a-half minute, harmonious farewell.

I know Trousdale has developed a large enough following that many of you already know how talented this trio is, how catchy their music is, and how easy they are to recommend to fans of a broad swath of musical genres. However, if the algorithms haven’t already spun up Trousdale for you, it’s time for you to seek them out intentionally and bend the algos in their direction. (You’re welcome.)

More Recently

In September, Trousdale released a cool post-album single, “The Ick,” whose catchy rhythm, nifty harmonies, and fun lyrical content are worth a listen.

Looking Ahead

Check out the “Tour” page of Trousdale’s website to find an upcoming performance near you. The band will be in the UK and Europe from late January through late February. They’ll also be performing on Andrew McMahon’s Holiday From Real Cruise that departs from Miami, FL (Feb. 28-March 4), at the Okeechobee Music and Arts Festival in Okeechobee, FL (March 19-22), and at the High Water Festival in North Charleston, SC (April 18). Be sure to check the band’s website periodically to see when they’ll be performing near you.

Album Review: Maja Babyszka, Gilad Atzmon and Nikos Sidirokastritis – In Memory Of That Song

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photo courtesy of Aesthetiko Musicians Collective

Album Review of Maja Babyszka, Gilad Atzmon and Nikos Sidirokastritis: In Memory of That Song

I’m not a huge jazz music fan, at least I’m not particularly knowledgeable about the genre, but I appreciate exceptional musicianship. And there are some albums that are a pleasant listen, offering interesting musical paths that journey in different directions while maintaining a stable center and/or returning to repeated patterns. My favorite kind of jazz record is one that offers enough flourishes to keep things interesting while allowing my mind to simultaneously focus elsewhere. In other words, music to work to. In Memory of That Song is one such record. It structures my thoughts when I’m not actively listening while offering cool musicianship that’s equally fulfilling when I’m doing nothing else but listening.

image courtesy of Aesthetiko Musicians Collective

Anyway, this recording assembles rising Polish pianist and vocalist Maja Babyszka, British woodwind specialist Gilad Atzmon, and Greek percussionist Nikos Sidirokastritis. The album aptly utilizes all of their talents, with each featuring more prominently in certain songs or passages of songs. The album kicks off with “A Dark Movie Scene,” a song on which the cool woodwind provides a rich and – for lack of a better term – woody texture. Second track “In Baku,” meanwhile, showcases some lively and sparkling pianowork. “At About 3:40 PM,” next, mixes the woodwinds and piano more evenly, with percussion playing a significant and dramatic role. It’s also the rare offering featuring vocals, though not lyrics, as Babyszka’s vocals play along with the keys and winds as if a third instrument.

The record continues with “We Had an Illusion,” a sparsely-instrumented, mood-eliciting number that brings to mind images of black-and-white film noir for the first couple of minutes before the piano joins in, adding a lighter, more playful presence. The back half of the song explores both of those styles alternately, with a variety of transitions to keep things interesting.

“Peace Has Prevailed,” following, is a pleasant number that effectively and enjoyable supports decompression and relaxation. It’s followed by the title track, the sixth and final song on this 39-minute album. “In Memory of That Song” begins with percussion, the only song on the record to begin that way, which sets the stage for wind and piano to join in an almost reluctantly playful way at first, though the musical addition evolves, as if gaining confidence a few minutes into the song. It’s an example of the variety found on the album, though at the same time the record is still clearly a cohesive collection of songs. The longest song on the record, “In Memory of That Song” clocks in at eight-and-a-half minutes, but it’s a welcome length, as it extends the particularly enjoyable listening experience.

With that, as the title track softly fades away, this inspired album comes to a close. Indeed, though I’m more of an occasional jazz listener than an expert, when I hear something I like – like In Memory of That Song – I like to share it with you. I hope my descriptions have done the record justice. The one thing that isn’t up for debate is the talent of the trio on this exceptional disc.

 

Single Review: Matthew Holtby – “This is Bliss”

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image courtesy of Cameron Carpenter on behalf of Matthew Holtby

Single Review of Matthew Holtby: “This is Bliss”

“This is Bliss” is a song that’s sneakily catchy. It’s a mellow, not-quite-balladic pop song with a smooth-as-molasses veneer, supporting Matthew Holtby‘s tonally-pleasant, precise-yet-emotionally-connected vocals.

The song, says Holtby, is “a lovely little tale of the life my wife and I have created together, plain and simple. Every word is true.” It’s a sweet, pleasant, richly-produced soft pop tune, sonically and lyrically blissful, true to its title.

photo courtesy of Cameron Carpenter on behalf of Matthew Holtby

The big unanswered question is how a song can be cool with lyrics like this, about marital harmony: “I know I write a lot of sappy shit. But I don’t care, I love the way we live. This is bliss.” But the song’s a great listen, and I’m sure you’ll want to add it to some of your playlists.

Holtby self-produced the song at his home studio, with mixing assistance from Colin Kennedy, joined musically by cello and violin-work from David Shewchuk.

So, if you’re looking for a smooth, pleasant listen that’s cooler than it most obvious comparables, check out “This Is Bliss.”

More About Matthew Holtby

Honestly, just click on some of the links on this longest-I’ve-ever-seen linktree to learn more about Matthew’s music and related endeavors.

Album Review: Sado-Domestics – Getting the Ghost

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image courtesy of the Sado-Domestics

Album Review of Sado-Domestics: Getting the Ghost

The Sado-Domestics are one of metro Boston’s premier Americana acts, comprised of musicians whose talents aren’t limited solely to participation in this project. The singing-songwriting duo of Chris Gleason and Lucy Martinez are joined by Jim Gray (bass), Eric Royer (pedal steel), and Jimmy Ryan (mandolin) on their latest full-length recording, Getting the Ghost. Both Eric Harabadian and I have reviewed previous Sado-Domestics releases, so click through to our reviews here (Camouflage: Stories by T.J. Gerlach) and here (Beach Day in Black and White) to read a bit more about the band’s background and our takes on their other recent releases.

The latest record, Getting the Ghost, kicks off with one of its more memorable tracks, “Big Cat,” which is always wise – kick an album off with a song that’ll grab listeners from the very start. In the case of “Big Cat,” steady picking structure and exotic rhythm support Lucy’s slightly edgy vocal, while a rich-yet-noisy wall of sound pushes the song along in key parts. It’s a creative spin on the uniquely Sado-Domestics base sound, making it a great opener. It’s followed by “Good Day,” which is a more straight-up Sado-Domestics sound, a little off-kilter and rockin’ with some creative musical details and nuances thrown in to keep the listener’s ears busy.

photo courtesy of the Sado-Domestics

“I Don’t Know You Very Well” is a beautiful if haunting softer number, while “Autumn Glow” follows with a horse-riding git-along rhythm and a pleasant travelling pace. “The Getaway (Major Motion Picture),” next, inspired by the 1972 film, continues the previous song’s vibe but with a bit more energy, a more prominent rhythm, and some effective, enjoyable instrumental flourishes.

I’m not quite sure why, but “New Logo” is probably my personal favorite on the disc. Its opening few measures remind me 0f the opening of Clint Black’s “A Good Run of Bad Luck,” though they’re not a copy. The sound is heavy, the vocals crisp but persistent. I mean, it’s a cool delivery, on the rockin’ end of the Sado-Domestics’ usual range. But it’s probably the lyrics that seal the deal for me: “Same old brand with a new log.” A fun take on “a leopard never changes his spots.” The next song, “Wolf,” maintains and even builds upon the energy and pace before the band slows things down with the twangy, country and western dancehall-sounding “Chancer.”

“Tip of My Tongue” continues the twanginess, leaning into one of Lucy’s sweeter, richly textured vocal performances on this record. “Killing Me Kindly” follows, and you may recognize this one. It’s a Sado-Domestics-flavored rendition of the song that was one of my favorites on Los Goutos’ Mighty release, Los Goutos being one of Chris Gleason’s other bands. (Yes, I reviewed that album, too.)

Finally, the record closes with “Balthazar,” a strumming, introspective, thoughtful number that provides a soft landing for the record. It’s has deliciously off-kilter, very Sado-Domestics styled vibe to it.

In the end, this was another strong release from the reliably exceptional purveyors of Americana music known as the Sado-Domestics. On the heels of this release, the band was deserving nominated in the 2025 New England Music Awards’ Americana Act of the Year category.

Looking Ahead

Per the “Shows” page on the Sado-Domestics’ website, the band currently has a few January and February shows booked in Massachusetts, with dates listed in Roslindale, Maynard, and Somerville.

EP Review: Nate Jones – Greatest is Love

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photo courtesy of Nate Jones

by Eric Harabadian, Contributing Blogger

EP Review of Nate Jones: Greatest is Love

Nate Jones is a singer-songwriter/guitarist from Detroit, Michigan who has been steadily building a fervent and loyal following for over 15 years. The 30-something troubadour has dabbled in all areas of musical endeavor as a solo artist, a member of acoustic rock-based trio Athens Creek, and as a weekly host of several open mic nights.

The intrepid artist also has a select body of recorded work and original songs, with influences that run the gamut from James Taylor and Jim Croce to Johnny Cash and The Avett Brothers. With Greatest is Love, he is at the peak of his powers in terms of self-actualization and reflection. You’re getting the “best” version of Jones, where he’s putting his life and love on the line to show the audience what makes him tick. And, in doing so he, no doubt, is connecting to the listener in the most empathic and unfiltered way possible.

image courtesy of Nate Jones

This six song EP was recorded in Nashville, TN in early 2025. Jones had spent a few years there soaking up the creative atmosphere and ambience. And there are, indeed, a number of stylistic tropes that lean toward, perhaps, the country influences gleaned from such tenure. But he’s got his own signature thing going that defies mere categorization, other than to call it “Nate Jones music.”

Track one is called “Live it Loud,” and it immediately grabs you by way of a structure totally built on catchy hooks and an indelible melodic arrangement. This must surely be a crowd pleaser, with its upbeat message and collective spirit from his fellow collaborators. It starts with a refrain that’ll lock inside your consciousness: “Let me see your upside down frown, hands up in the air. Let me hear you sing it out loud, living without a care.” It’s infectious like that through the whole song. It’s a rouser, to be sure!

That’s followed by the seemingly autobiographical “Sober.” It’s a song with a serious tone about addiction and the joys of sobriety. This is Jones putting it all out there in a packaged token of appreciation for realizing the importance of having love in his life. Again, it’s got a great hook and a great message.

photo courtesy of Nate Jones

“(If Everyday Was) Friday Night” scratches that CMT/Active Country itch. This song is tailor-made for radio, with strong video potential as well. Imagine some of Chris Young and Luke Combs’ best work, and you get the gist of what Jones is going for here. Former Athens Creek partner Taylor Walls shows up brilliantly in duet and lead vocals on this track.

“Needed You to Know” is another emotionally charged piece that builds to a dynamic finale. This is, perhaps, one of Jones’ best love songs, as poetic as it is sincere. He sings, “Lonely is the man that waits for you. Who only hides the lies and tells the truth. Holding out his hand to hold onto. Lonely is the man that waits for you.” Torch songs rarely get much better and heartfelt than this.

“So Alive “is another rallying cry for feeling appreciation for the supportive people in one’s life. It’s all about embracing memories and shared moments. The song addresses the simplicities we all share but may not always acknowledge. But, as aforementioned, you’re getting the “best” of Nate Jones here, and he’s being as transparent as possible.

The title track talks about what he’s learned in life and golden rule kind of stuff. He sings about basic precepts he absorbed from his parents about music, relationships, forgiveness, etc. But, for all the wisdom he’s gained in dealing with various situations in life, the greatest manner in which to handle it always comes down to grace and love.

Joining the thought-provoking Jones on his musical journey are co-producer and guitarist Alex Bonyata, bassist Nathan Moll, keyboardist Tony Salomone, drummer Trey Poluga, guitarist and fellow Athens Creek member Oscar Sosa and backup vocalist Kara Frazier.

For more information on touring dates and events just go to natejonesmusic.com.

Single Review: Dustin Brown – “Ballerina”

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photo by Katie Langley; photo courtesy of RPR Media

by Eric Harabadian, Contributing Blogger

Single Review of Dustin Brown: “Ballerina”

Dustin Brown is a Texas-born singer-songwriter from the Fort Worth area. He’s a mix of country and Americana that is part of a neo-traditional movement in music. He’s been pegged with a poetic “blue collar” style and way of storytelling that’s one part Kris Kristofferson and one part Jason Isbell. He does so by blending bits of Southern rock, “red dirt,” folk, and blues to regale his tales of working-class life, personal growth, and small-town America.

image courtesy of RPR Media

Brown knows of where and what he speaks, having spent a number of years working various jobs such as commercial diver and oil field land man. Undoubtedly those experiences have provided a wealth of inspiration and spark for some of his best songs. He’s in touch with the people and, along with some of the best like-minded original songsmiths, wants his songs to naturally tap into shared emotions and connect with others.

The Texas troubadour has released three full-length albums, with a fourth in the works. The song “Ballerina” is unique in that, not only is it a stand-alone single, not available on any other album, but it is a collaboration between Brown and two other fellow singer-songwriters, Billy Hartman and Rachel Cole. Hartman and Cole are accomplished artists in their own right, with Hartman recording a number of singles and albums under his belt and Cole having toured with the late, great Todd Snider and signed with Snider’s Aimless Records.

photo by Katie Langley; photo courtesy of RPR Media

It’s a lot of collective creative firepower for a single that tells a delicately detailed, yet simple story. The Brown and Hartman-penned song focuses on a relationship and character study of a girl from three different perspectives. All three artists take a verse on the country-folk song supported by complementary mandolin, slide and acoustic  guitar. Brown’s seemingly naked and vulnerable voice leads the charge and paints a vividly intimate aural picture.