Tag Archives: Single Review

Single Review: Preston Lydotes – “Wrong”

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Single Review of Preston Lydotes: “Wrong”

Preston Lydotes – "Wrong" cover art

image courtesy of Preston Lydotes

Boston-based singer-songwriter Preston Lydotes delivers a powerful and tuneful message in “Wrong.”

The song, a mea culpa for mistakes made, starts softly, confessionally, with simple acoustic guitar plucking and a vulnerable vocal that seems to crack a lot more than it really does – there’s really only one spot that goes beyond just a hint. That’s the sign of a talented vocalist.

As the song continues, the power builds along with the richness of the soundbed and the volume and fullness of the vocals, producing a solid emotional lump in the listener’s throat by the midpoint of the song.

Preston Lydotes

photo courtesy of Preston Lydotes

In total, this is an exceptional single, despite its relatively simple instrumentation – or perhaps because of it. If you don’t get emotional while listening to “Wrong,” you’re at least somewhat heartless. And yet, whether or not you enjoy getting all emotional, you’ll agree “Wrong” is a must-hear.

Before and After

“Wrong,” released this past fall, was the first release following Lydotes’ 2023 EP Is There Anyone? More recently, per his bandcamp page, the singer-songwriter has dropped “The Fallout” (December 2024), “The Critic in Me” (January 2025), and “5 to 9” (April 2025). Just a quick listen to some of those records, and you’ll realize Lydotes covers a lot of musical ground, often much more energetically than on the very emotional “Wrong.” I’ve seen him dubbed a folk/pop-rock singer-songwriter. I’d advise considering that to be inclusive of folk, pop, and rock rather than a specific sound mixing the genres. This dude’s got range!

Single Reviews: Lucas Horne – “Secret” and “When Did the Sun”

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Lucas Horne

photo courtesy of Groot PR

Single Reviews of Lucas Horne: “Secret” and “When Did the Sun”

“Secret” and “When Did the Sun,” the first two singles released in advance of Lucas Horne‘s 2024 album Seventeen, showcase an impressive range for big-sound pop-rock vocalist Horne.

“Secret” begins tunefully, with a straight-up pop storytelling delivery that continues through the verses. The bridge and the chorus, though, with the “hey, oh! oh! oh!” background vocal, ratchet up the energy level. Most people would likely just bop their head to the higher-energy beat and/or sing along, but I could see more energetic fans potentially pogoing to it at a live gig. Regardless, this is a very cool song that’ll get stuck in your head and live alongside much more famous pop anthems.

Lucas Horne

photo courtesy of Groot PR

On “When Did the Sun,” meanwhile, Horne slows things down a bit, displaying versatility. Equally pop-worthy, but this time a painfully heartfelt ballad. It’s smooth, emotional, and easy to listen to, atop a warm, rich soundbed, with nifty soft-pop/rock guitarwork from time to time, particularly in the closing fade-out.

Pop/rock and slower pop, both with enough of a rock edge to reach a broad audience but not so much as to scare aware more pure pop fans… Lucas has the range and the talent. And if you’ve not yet heard of him, these two songs are a great introduction.

More Recently

Since the release of Seventeen, the album that featured both “Secret” and “When Did the Sun,” Lucas has dropped several more singles, which you can find on his Spotify page. There are more than enough for another EP, so for those of you who like your music in multi-song bundles… well, I don’t know if there are plans to do that, but you can always bundle them yourself.

Single Review: D.C. Anderson – “No Kings Live Here”

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D.C. Anderson – "No Kings Live Here" cover art

image courtesy of D.C. Anderson

Single Review of D.C. Anderson: “No Kings Live Here”

This timely single, D.C. Anderson‘s “No Kings Live Here,” was released on April 4, the day before the “Hands Off” protests occurred in 1,000 cities across the U.S. It would have made an ideal song for the events, if those in attendance knew about it. But it can serve as a reminder and a rallying cry for those who attended.

I’ve seen social media posts, like this one, asking where all the protest songs are. Well, this is one. D.C. notes that “No Kings Live Here” was inspired by the t-shirt U.S. Representative Maxwell Alejandro Frost wore at this year’s U.S. State of the Union address.

On this song, Gantt Kushner mans the guitar, while D.C. sings. D.C.’s delivery, as is his style, is very theatrical. You’d almost wonder if, in addition to being a singer-songwriter, maybe he’s also a highly-regarded stage and screen actor or something. “No Kings Live Here” is delivered enthusiastically, in such a way that it seems as if D.C. is leading a singalong. And that, my friends, is what makes it a good protest song.

Lyrically, the song is a little word-dense, and its storytelling style – really more of a combination of teaching and fact-proclaiming in addition to storytelling – is along the lines of Schoolhouse Rock. Remember the one about how a bill becomes a law? OK, maybe it doesn’t sound like that. But “No Kings Live Here” would still make an entertainingly educational soundtrack for a Schoolhouse Rock cartoon.

Lyrics in the song include “The man who would be king has put democracy on pause. The man who would be king thinks he’s above our U.S. laws” and various versions of the chorus such as “No kings live here. No tyranny, no fear. No kings live here. The Constitution’s clear.” And “No kings live here. We do not serve him whim. No kings live here. We will not bow to him!”

But hey, check it out for yourself. You can watch the lyric video here on Vimeo if you want to learn the song. It’s also handy if you want to sing along while listening. If you’ve been searching for a modern-day protest song, this might just be what you’re looking for.

Single Review: BJ Sam – “Marry Me”

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BJ Sam

photo courtesy of BJ Sam

Single Review of BJ Sam: “Marry Me”

On his single “Marry Me,” officially a 2024 release, Nigerian-born recording artist BJ Sam is accompanied by Greek guitarist Nikolas Gialtrinos, German-born saxophonist Biggi Vinkeloe, Norwegian drummer Helge Hanssen, and Swedish musicians Magnus Rosen and Mikael Erlandsson. Truly an international ensemble. The music video for the song, which you’ll find here on YouTube, is mostly beach resort themed, though cameos by some of the performing musicians are clearly filmed in remote locations. It’s all nicely blended.

BJ Sam – "Marry Me" cover art

image courtesy of BJ Sam

Musically, “Marry Me” features a rhythmic beat and frequently-repeated main lyric that offer a rather hypnotic vibe. I see the song self-labeled in at least one spot as “afrobeat,” and that seems appropriate. My first thought when hearing “Marry Me” was that it has an island vibe, but the style is distinctly different; I admit my stylistic perception may be influenced by the beach that appears in the music video. The most important question is whether or not you’ll enjoy the song, and I bet you will; this single is, simply put, a fun slower-tempo romp. BJ Sam’s vocals are varied with a smooth, comfortable tone that’s easy to listen to while still having enough of an edge to slice through the music bed.

If you like pleasant, rhythmic music, you’ll dig “Marry Me.” And while I’ve seen it referenced as a wedding song, it seems more like a wedding proposal song; however, with its fun beat, it will certainly also be an enjoyable wedding reception song. I’m glad this pleasant romp found its way into my inbox, even though I’m long past needing a song for either a proposal or a wedding.

Single Reviews: Simon Scardanelli – “Young & Curious” and “Here We Go Again”

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Simon Scardanelli strumming an acoustic guitar

photo courtesy of Simon Scardanelli

Single Reviews of Simon Scardanelli – “Young & Curious” and “Here We Go Again”

Simon Scardanelli released these two singles recently, not too far apart chronologically, but a bit moreso stylistically. They’re the fourth and fifth singles released so far, if I’ve counted correctly, from the upcoming album Underneath the Singing Tree. Given the diversity before just these two songs, I suspect we can look forward to a very varied collection.

Simon Scardanelli – "Young & Curious" cover art

image courtesy of Simon Scardanelli

“Young & Curious” is actually an exceptionally stereotypical Simon Scardanelli tune, its lead-in, tempo, and mood very much in line with many of Simon’s other best songs, so it’s sure to become a favorite among fans (like me). It treads along smoothly; Simon’s vocals are deep and serious, though not too heavy, occasionally hitting a well-placed high note. It’s a song about past connections, gone but not necessarily lost, at least not when viewed through the lens of memories. Also, a nifty horn part kicks things off at the very beginning and wafts in and out throughout, more reminiscent than haunting. I’m never certain enough to name a specific horn when I hear it, except this time. In the song notes, Simon says the song begins with “a trumpet lost in the ’70s.” So (I say confidently), it’s a trumpet; much like the emotions explored in the song, lost but not forgotten.

Simon Scardanelli – "Here We Go Again" cover art

image courtesy of Simon Scardanelli

“Here We Go Again” opens quite differently, with a very light strum. The song is a richly (though sparsely) instrumented musing about poor decisions made (repeatedly) when the lights are low. Presumably late at night, but I suppose not necessarily. The song clearly isn’t a complaint. More, rather, a bemused acceptance – “here we go again.”

So, I can guarantee there’ll be two new favorite songs on the upcoming album – these two – for those who dig Simon’s vibe. And that’s not a negative statement against the first three singles. I specifically only listened to these most recent two singles to be able to churn out my review more quickly… and to leave more “new discoveries” for myself when the whole album lands in my playlist. You, of course, don’t have to wait. You can find all of Simon’s releases on his bandcamp page. There’s even a YouTube video for the title track of the upcoming album. But aside from the little snippet I heard while grabbing that link for you, I’m gonna wait and be surprised when the full album hits my inbox.

Last-Minute, April 6th Addendum

A little new news just as I’m about to post this review. Per this Facebook video released just a few hours ago, the full-length album has an official release date of June 9th, but it is available starting today exclusively at Simon’s website or when attending one of his concerts. I look forward to hearing and reviewing the full-length disc.

Single Review: Essenger – “Silence” (feat. The Midnight)

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Essenger

photo courtesy of BJF Media

Single Review of Essenger: “Silence” feat. The Midnight (FiXT)

EDM/rock fusion artist Essenger tackles synthwave, with the help of synthwave duo The Midnight (songwriter Tyler Lyle and producer Tim McEwan), on the 2024 single “Silence.”

Essenger – "Silence" (feat. The Midnight) cover photo

image courtesy of BJF Media

“Silence” is a pop-friendly, engaging, synth-driven track. The soundbed is lush with a rhythmic beat, supporting vocals that soar when the instrumentation is sparse while hewing to the rhythm without losing their emotion when aligning with the beat. Indeed, whenever the music slows down, the reengagement of the rhythm is like an energetic catharsis. In all, “Silence” is a fun listening experience.

Says Essenger of the single, “‘Silence’ was an unfinished track off After Dark that Tim and Tyler from The Midnight helped me finish and release as a bonus track for the album’s 4 year anniversary.” One listen, and you’ll be glad the collaboration happened.

More Recently

You’ll find a few slightly more recent releases on Essenger’s bandcamp page – a couple remixes of “Sanctum Eternal,” a collaboration with Skybreak entitled “Mothman,” and the nifty, energetic Spanish-language single “Aniquilación.”

Single Review: Shade – “Break Out”

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Shade band photo

photo by Dominic Walsh; photo courtesy of BJF Media

Single Review of Shade: “Break Out” (Golden Robot Records)

Earworm alert! Shade is a Manchester-based fivesome comprised of, at the time “Break Out” was released, Luke Anthony Owens (guitar, lead vocals), Adam Taylor Clare (bass, backing vocals), Oliver Clare (drums, backing vocals), Ben Mcdonough (lead guitar), and Mac Anthony McCartney (keyboards, backing vocals).

Shade – "Break Out" cover art

image courtesy of BJF Media

With a raw, thumping, rock-driven sound supporting Owens’ crisply powerful vocals, Shade delivers a catchy, hard rockin’ “power pop” number with “Break Out.” You’ll find yourself singing along with the “break in, break out” chorus and/or the support vocals of “do whatchoo wanna, do whatchoo wanna” air-guitaring a bit during the nifty guitar solo bridge just past the song’s midway point, and/or air-drumming along with the prominent rhythm that drives “Break Out” forward. The song clocks in at a swift 2:37, but the tempo makes it seem to go by even faster.

More Recently

The band has released two additional singles since “Break Out.” At least, there are two more recent releases on the Shade Spotify page. Also, this review of the band’s August 2024 release “Supercars” discusses the line-up change that turned the band into a foursome.

Single Review: Charming Arson – “Saving Chelsea”

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Charming Arson

photo courtesy of Charming Arson via Knyvet

Single Review of Charming Arson: “Saving Chelsea”

Boston-based Charming Arson is Stefano Bellezza (lead guitar, backing vocals), Dave Cameron (lead vocals, rhythm guitar), Dave Gould (percussion, backing vocals), and Aaron Clark (bass guitar, backing vocals).

Charming Arson – "Saving Chelsea" cover art

image courtesy of Knyvet

The band delivers a fun, memorable alt-rock (technically, I suppose alt-power-pop) track with “Saving Chelsea.” It kicks off with raw, distorted axe riffs before the initial vocals match the guitar’s intensity. However, finesse soon follows, leading pleasantly to the muddy, flavorful alt-rock chorus, replete with some stylistically appropriately strained harmonies. The grainy, fast-paced guitarwork in the transitions and late-song bridge to nowhere – a cool way to end the song, a bridge-esque guitar run that just leads to the end of the track. In all, just a tightly-written song that’s a fun repeat listen, in part because it manages to capture the feel of a live gig in a well-produced radio-ready package. Well done, dudes!

More Recently

You can find “Saving Chelsea,” along with five other songs (none of which I’ve listened to yet) on Charming Arson’s Another Kind of Vision EP.

Single Reviews: Erin Gibney – “Kryptonite” and “By June”

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Erin Gibney seated in front of a piano

photo by Margaret Anna Media; photo courtesy of Skye Media

Single Reviews of Erin Gibney: “Kryptonite” and “by june”

You’ve read about Erin Gibney here before. I reviewed her single “You Made Your Bed” in 2023. Well, don’t sleep on Erin; this is a singer-songwriter with big-time chops!

Erin Gibney – "Kryptonite" album cover

image courtesy of Skye Media

Within the past year, Gibney has released a few singles. This review focuses on a pair of Erin’s 2024 releases, the singles “Kryptonite” and “By June.” The songs are varied enough to show a bit of range – something always cool to notice – and solidify my impression of her songwriting prowess, helping prove she didn’t “peak” with the song that first earned my attention, “You Made Your Bed.”

“Kryptonite,” a spring 2024 release with cover art that looks like ’60s pop art a la Lichtenstein but without the dots, is a memorable song with a lightly pleasant vibe and the singalongable line “you’re my kryptonite,” a lyric that summarizes the storyline of this well-written, sweetly emotional, relatable soft-pop tune.

Erin Gibney – "By June" cover art

image courtesy of Skye Media

Fall release “by june” gives away its melancholy immediately with a rich, sad, sweeping sound bed befitting Gibney’s wistful vocals and clever lyrics, “By August I’ll quit calling just to hear you say my name. December I won’t remember the way your hands felt on my waist. And by March it won’t be so hard to picture me with someone new. And if they’re right on the timeline I’ll be over you by June.” Heavy! And the words ring true.

Gibney’s delivery is engaging in a way that suggests future singing success. And her songwriting is insightful and clever enough to guarantee a future as a songwriter, even if the stars don’t align for singing stardom. I’m hoping, though, that they do.

Erin Gibney standing on the beach with a small wave crashing behind her

photo by Vincent Pecoraro; photo courtesy of Skye Media

More Recently

Just as I was wrapping up my first draft of this review last week, Gibney dropped another single, the countryesque crooner “Leave the Pieces,” replete with twangy, swiftly strummed guitarwork. I’ve only given this new song a couple listens, so I won’t do an in-depth review, but, um, Erin can write and sing country music, too. It just isn’t fair to the other singer-songwriters out there, is it?

Single Review: Alison Brown & Steve Martin – “Bluegrass Radio”

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photo of Alison Brown & Steve Martin

Alison Brown & Steve Martin; photo courtesy of Compass Records

Single Review of Alison Brown & Steve Martin: “Bluegrass Radio” (Compass Records)

Alison Brown and Steve Martin previously collaborated on the Emmy Award-winning instrumental “Foggy Morning Breaking,” a song from Brown’s On Banjo album. Well, last year the banjoists teamed up again for a new single, “Bluegrass Radio.”

Alison Brown & Steve Martin – "Bluegrass Radio" cover art

image courtesy of Compass Records

On this record, the pair are joined by top bluegrass musicians Sam Bush (mandolin), Stuart Duncan (fiddle), Trey Hensley (guitar), and Todd Phillips (bass), ensuring tip-top musicianship on the track.

The song is an energetic, fun romp. The fast-tempoed ditty doesn’t dawdle, clocking in just a hair over three minutes, but the song is like an English muffin, sporting plenty of nooks and crannies for the band members to show off a little. Lyrically, it’s playful and a little silly, perfectly suited to Martin’s emotive vocalization, featuring lyrics like “Number three in California, five in Arizona, didn’t seem to mean a thing to you, but I got number one in Texas, and now you fix me breakfast because I am a hit on bluegrass radio.” Just trust me, with Martin’s tone and phrasing, it’s downright mischievous.

photo of Alison Brown holding a banjo

Alison Brown; photo courtesy of Compass Records

Whether you’re typically a bluegrass fan or not, this light, tightly-performed fare is likely to put a smile on your face. Of course, if you’re not a bluegrass fan, then this just might be your favorite Steve Martin song since “King Tut,” and it’ll serve as a great introduction to banjo luminary Alison Brown.

More Recently

Last fall, Brown and Martin teamed up again, this time bringing in Vince Gill for a featured role, on “Wall Guitar (Since You Said Goodbye).”

In addition, last summer Brown dropped a remixed and remastered version of her 1990 Simple Pleasures record, which landed her a Grammy nomination following its initial release. That record also earned Brown recognition from the International Bluegrass Music Association as Banjo Player of the Year, the first time that honor went to a woman.

photo of Steve Martin standing, holding a banjo

Steve Martin; photo courtesy of Compass Records

In February, Brown also teamed with Kristin Scott Benson and Gena Britt on the single “Ralph’s Banjo Special.”

Of course, we all know what Martin has been up to lately on the acting front, starring in the critically acclaimed series Only Murders in the Building. Also, if you were previously unaware of Martin’s banjo aficionado-ness, it’s worth noting that, in 2010, Martin founded The Steve Martin Banjo Prize, which has been awarded to numerous recipients in the years since its inception.

Looking Ahead

Brown has tour dates scheduled in as far north, south, east, and west as Maine, North Carolina, Arkansas, and Wisconsin, plus many, many points in-between. Be sure to check the tour listing on her website to see if she’ll be performing near you.