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.

photo by Jill Moninger; photo courtesy of Nate Jones

by Eric Harabadian, Contributing Blogger

EP Review of Nate Jones: Testing the Waters

This EP represents a nice cross-section of what you would get at a live Nate Jones show. He is a Detroit area singer-songwriter cut from the same cloth as artists like Jason Mraz, early John Mayer, and, even, classic James Taylor. No doubt a take-off on the local indie brew pubs and taverns Jones plays on a regular basis, the disc sleeve bears the stamp: “100% Genuine Craft Music; Made in Michigan.”

image courtesy of Nate Jones

The dream-like ballad “Autumn Road” opens the disc and sets a romantic scene, with a vivid aural portrait suitable for framing. He begins with solo acoustic guitar lightly arpeggiated as he softly sings of a fall stroll—crunching leaves under foot—where two lovers are lost in each other. This is a great place to start as Jones immediately grabs your attention, with his graceful and engaging vocal style.

“Blonde in the Ballroom” follows and has a lilting and entrancing waltz-like feel. Jones sings in a buoyant and wistful manner about dancing with the song’s dream girl. Bassist Barry Schigelone and drummer Dan Bourquin give it a light kick that recalls something Fairport Convention or Mumford & Sons might do.

“Smoke Filled Room” features a lyrical tale of a femme fatale, with a steady propulsive groove and Oscar Sosa’s flamenco-tinged lead guitar. The song is rooted in a minor key and is the perfect vehicle for Jones’ emotive and dramatic delivery.

photo by Brandon Hawk; photo courtesy of Nate Jones

“Love is Not a Victimless Crime” explores the perspective of songsmith as the prey or victim in a relationship. In it he sings “I’m the victim, you’re the thief, you stole my heart right from beneath my feet.” With practically anyone else those words might come across somewhat forced or a cliché. But Jones has a knack for conveying sincerity and vulnerability that is convincing and totally for real. This also has a bubbly rhythmic hip-hop vibe that bops along in a catchy and free-spirited fashion.

Subtle social relevance enters into the mix here with the track “Good Morning Rome.” It is a sly and clever reference to the fall of ancient Rome at the hands of its own people. The song makes comparisons to American society and its common foibles and faults.  The tune has a very loose, yet steady beat where Jones spins his cautionary tale while Sosa turns up the heat via sizzling blues riffs.

The bonus track here ends the disc as it began, with a solo acoustic piece. “King of Hearts” has all the majesty and wordcraft of a Shakespearean tragedy blended with masterful and brilliantly executed guitar work. Again, Jones sells the song right up to the final plea where he cries to reclaim his queen.

Nate Jones is a diverse and personable musician that lays it on the line by wearing his musical heart on his sleeve. That sincerity comes through loud and clear, with production that is lean, open, and brings out the best in this refreshing and original young artist.