The Barlow: New Year, Old Me
Photo by Tim Richter
A sure sign of a band coming into their own, carving out their spot in a particular scene, is consistency in their sound and familiar musical threads that permeate each subsequent album they release. As fans, we appreciate this because we can anticipate what is coming on new records; we get the same terrific elements that made us take an interest in (or heck, fall in love with) the band in the first place. One can likely think of a few historical examples of bands that experimented in a different sound or direction, with unfortunate and disastrous results. Consequently, appreciation for what the band was or might become in the future waned. Fans were left wondering, “will what comes from their future releases be what attracted me to them in the first place? Or will I only be disappointed about what could have been?”
Thankfully, with The Barlow’s third album (New Year, Old Me – June 30, 2022), we can see the boys finding their stride, settling into what makes their “Colorado Country” sound (as they call it) uniquely them: distinct, gravely-warm vocals and harmonies; high-energy lead and steel guitar lines; driving drums paired with tightly-grooved bass foundations. Combine those musical elements with The Barlow’s particularly intelligent lyrics, stories and themes, and all of it comes together in a refreshingly reassuring album that demonstrates The Barlow knows exactly who they are and what space they fill in the Country-Rock genre. And this writer is especially thankful for that!
As The Barlow boys (Shea Boynton, Brad Johnson, Troy Scoope, Ben Richter) are undeniably taking further steps into the evolution of their popularity, they find themselves spending more days away from home, running down the road from one show to the next. As such, it is no surprise the songs on this third album reflect that new reality. Chronicles of life from the long, lonely highways (“Mile Marker Blues”; “Josephine”), missing home and family (“All My Days”; “Obsessions”), losing connection with the ones we care about (“Bad Ol’ Days”; “Tarred”) and not being assured of where the next paycheck is coming from (“Heart In a Sling”; “New Year, Old Me”). For us Country and Americana fans, it’s those exact sort of tales and imagery that draw us in. We easily identify with those narratives because we have familiarity and history chock full of that experience.
Right from the opening lines of the album, with a familiar, toe-tapping Texas dancehall swing to support it, we jump straight into the mindset of life on the road with your friends, away from family but seeing the country and doing what you love:
“Windshield time, makes ya punch drunk / Guilt hangs down like the west Texas stars / Turn on the radio / Old White-liner, fall behind-er / Dot on a map and I’m looking west / see your ghost on my breath” – Mile Marker Blues
Deep on the B-side of the album, we find a track that reassures us as fans that The Barlow boys have the full support of their individual families. They all believe in what these guys are doing, just like we do as fans. The song “Without Emotion” examines the question, “What if this stops being fun? What if this music business and touring thing starts to become a chore rather than what I was born to do?” And the adamant response from The Barlow’s significant others is, “Don’t sing without emotion!” It gives the sense of the wives telling their guys, “Don’t ever question what you are doing. You love this and you are terrific at it! Put your full heart into everything you do!” It’s a very comforting thought, isn’t it? For each of us in our daily lives, to know that people believe in us and that we are doing the right thing. I know I will strive to tackle everything I do with that exact same energy and mindset: “don’t sing without emotion.”
A pervasive idea throughout this album, time alone with only your thoughts to keep you company, gave rise to (in this writer’s opinion) the most thoughtful song on the album. We can all agree that the last 5+ years have been very turbulent and up-ending. Friendships and family torn apart over the state of the world, politics, culture, and values. Relationships ended over disagreements that 20 years ago we would NOT have let keep us from accepting each other as we are. The sixth song of the album, “Tarred”, examines this topic of losing touch with those we care about over things that maybe we should be mature enough to simply agree to disagree over, and keep our relationships intact in spite of:
“We ain’t reading from the same book, let alone the same page / Only two forms of expression, silence and rage / and if a phone call at Christmas is the best we can do / shame on me and shame on you” – Tarred
“Tarred” forces us to step back from our pride and positions and examine a more engaging and accepting state of mind between ourselves and those we disagree with. In this current era of absolutism, this song is a welcome breath of fresh air that encourages a unity based on our commonalities rather than further division based on our differences. Such insightfulness is welcome and appreciated.
The album wraps with a re-release of one of The Barlow’s most well-known songs, “Shut It Down”. Originally released on the band’s first, self-titled album, this re-production issues a loud and clear statement about where the guys are musically: “We have arrived!” This song gives The Barlow the opportunity to highlight what makes them so engaging, and they take full advantage here. The dual guitar parts throughout, driving drum and bass lines and instrumental solos, are so dialed in and precise, one can’t help but hear echoes of The Allman Brothers at their best. If you don’t hear any other song on this album, certainly give “Shut It Down” a spin. The musicality alone is worth the time investment.
The Barlow’s third album, New Year, Old Me, can be found on all streaming platforms. Vinyl pressings, along with other The Barlow merch can be ordered from their website: www.thebarlowband.com
The Barlow:
Shea Boynton – Vox/Guitar/Banjo
Troy Scoope – Bass
Ben Richter – Drums
Brad Johnson – Guitar/Vox
Additional Musicians:
Ben Waligoske – Pedal Steel
Andy Schneider – Keys
Dan Hochhalter – Fiddle
Album Credits:
Recorded at Evergroove Studio, E Squared Studio, and Brogly Sound
Engineered by Brad Smalling, Shea Boynton, and Jason Brogly
Produced by The Barlow and Brad Smalling
Mix and Mastered by Brad Smalling at Evergroove Studio
All songs written by Shea Boynton and The Barlow
Album artwork by Stoney Wayne Bass
You can also find more about The Barlow at the links below:
