So Much for Goodbyes

I got to hear the new album last night at For The Record in Greenpoint, Brooklyn, among a crowd of fellow New York City Billy Goats. Strangers and friends alike gathered in anticipation, sharing stories from summer tour while sipping matcha, beer and wine. The record opens with a familiar tune: “I’m One of Those” sets the tone for the next 16 tracks. This newer favorite makes its studio debut with the soulfulness and themes of nostalgia, grief and longing that are common on the new record. “Burn the Other End” comes in white hot with the rage-filled picking that has proven to be an absolute burner on tour.

Two brand new tracks round out the A Side of the record: “Carry us Home” and “Lay Me Down”, a longing ballad and bluegrass burner, respectively. The next thing we hear is a psychedelic circus in “Lucid Daydream” that I predict to be the biggest live number from this album. I hear twisted pedals, careening fiddle and a hypnotic banjo to make the song a sick jam vehicle. After “Mill Town Flood”, we get to hear the rare inclusion of drums and steel guitar on “Live to Tell” that make this track listen more like Johnny Blue Skies than Billy Strings (and I mean that with the highest reverence to both bands). “Bluewater Breakdown” brings us back to grass to close out the first half of the album.

Side C opens up with “Light the Way”, a tribute to his mother. “I Like Train Songs” is exactly what it sounds like - a love letter to everyone’s favorite genre of bluegrass tune (and maybe a nod to Jim & Jesse?) I’m on the choo choo rollin’

The last two tracks from Side C are both the most heartbreaking, and the inflection point of the tone of the album. “10,000 Miles from a Friend” makes its way onto the record with those familiarly lonesome Alex Hargreaves notes that make you want to give your neighbor a hug. Next comes “Still I Crash”, by far the most personal and heartbreaking song Mr. Apostol has ever shared with the world. This song had the entire listening party head down in deep listening and contemplation. The only words uttered after the final notes were ‘wow’. If you’re lucky enough to still have your mom around, give her a call.

The last four tracks begin with “I Wish I Wanted To”, a more upbeat tune than the name suggests. “Remember to Cry” has a similarly misleading title - this is one of the most fun songs on the record and had us all tapping our feet. The penultimate track seems to be both a scripture reference and an ode to Bobby Weir in “Wrestling an Angel” - this is one I’m excited to listen to again. The album closes out with a beautiful instrumental number dedicated to Billy’s late mother, “Debra’s Waltz”. I think this is the perfect way to close out the album, with the final notes almost seeming to resolve an earlier unresolved chord.

I wrote this review purely on memory - I should have taken notes last night. All I can say is this album is a masterpiece; it’s both gutwrenching and bootstomping in a way that only Billy and the Boys could produce. It’s teeming with jam potential, but also includes some instant classics that sound like they could have been written by Tony Rice or The Stanley Brothers. We get to hear some very special guests (Bryan Sutton, Del McCoury, Alison Krauss, and more), heartbreaking tributes to Billy’s mother, and barn-burning bluegrass all wrapped up into this next spectacular installment of this young man’s already illustrious career. Everyone at the party was equally stoked on the quality of music we just heard, and antsy to have to wait another three days to listen again. I can’t wait to hear what they do with this album on tour (please let us hear Lucid Daydream live at Freak Fair).

Cheers, billy goats. Thank you guitar.