12 Songs, 43 Minutes

EDITORS’ NOTES

With their fifth studio album, Drew Holcomb & The Neighbors wear their rootsy folk-rock songs with the ease and comfort of well-worn blue jeans. But Holcomb actually likens music to footwear in the opening “Another Man’s Shoes.” His wife, Ellie Bannister Holcomb, provides sunny vocal harmonies here and throughout Good Light, at times sounding like a young Emmylou Harris. The following title track emits guitar tones so radiant and warm it sounds like Holcomb found a way to crossbreed Tom Petty’s Rickenbacker with George Harrison’s Gretsch Duo Jet. But it’s the soaring melodies and life-affirming lyrics that warrant naming the album after that song. Ellie’s natural drawl fits the twangy confessional “Tennessee” like a well-tailored dress and hits a more impassioned pitch (which would also work well in a Ryan Adams song) in “Rooftops.” Where much of Good Light has sentimental restraint and a subtly earthy grace, “Nothing Like a Woman” gets more festive; the rhythm section kicks out an uptempo shuffle under rootsy organ drones, piano, and vintage-toned guitar leads.

EDITORS’ NOTES

With their fifth studio album, Drew Holcomb & The Neighbors wear their rootsy folk-rock songs with the ease and comfort of well-worn blue jeans. But Holcomb actually likens music to footwear in the opening “Another Man’s Shoes.” His wife, Ellie Bannister Holcomb, provides sunny vocal harmonies here and throughout Good Light, at times sounding like a young Emmylou Harris. The following title track emits guitar tones so radiant and warm it sounds like Holcomb found a way to crossbreed Tom Petty’s Rickenbacker with George Harrison’s Gretsch Duo Jet. But it’s the soaring melodies and life-affirming lyrics that warrant naming the album after that song. Ellie’s natural drawl fits the twangy confessional “Tennessee” like a well-tailored dress and hits a more impassioned pitch (which would also work well in a Ryan Adams song) in “Rooftops.” Where much of Good Light has sentimental restraint and a subtly earthy grace, “Nothing Like a Woman” gets more festive; the rhythm section kicks out an uptempo shuffle under rootsy organ drones, piano, and vintage-toned guitar leads.

TITLE TIME

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