Dawes – Oh Brother (Dead Ringers) 13th Floor Album Review

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Dawes has long been celebrated for their ability to weave timeless Americana with modern experimentation—a skill they continue to refine on their ninth studio album, Oh Brother.

Formed in Los Angeles in 2009, the band has undergone several lineup changes, but the heart of the group remains the Goldsmith brothers, that the album is named for, Taylor (vocals and guitar) and Griffin (drums and backing vocals). It’s a band that should appeal to fans of Wilco, Band of Horses, or Bright Eyes.

Following the departure of two long-standing members, Oh Brother marks a pivotal point for Dawes, showcasing the brothers commitment to reinvention while staying true to the folk-rock roots that first earned them acclaim. And whilst some of the tracks have a jam band feel, none extend to the ten minutes plus of their last album Misadventures of a Doomscroller. 

The album opens with Mr Los Angeles, one of the more experimental tracks, this is driven by syncopated drumming and reverberating guitars that echo the uncertainty and turmoil in the lyrics. Taylor Goldsmith grapples with themes of identity and self-preservation amidst a world in constant flux. The song sets a tension that carries through the rest of the album, establishing Oh Brother as a meditation on change, continuity, and reinvention.

Front Row Seat slows things down with a contemplative ballad that explores the tension between passive observation and active engagement in life’s bit moments. It begins softly, only to shift midway through to a livelier tempo, punctuated by rolling guitar licks and crisp drum fills, making it a layered and rewarding listen.

With Still Strangers Sometimes, the tempo picks up as a rich piano arrangement underscores lyrics about the paradox of intimacy and distance within relationships. The poignant line, “Love was supposed to help me find myself, not put me through this private hell,” encapsulates the struggle of seeking clarity in the midst of confusion.

The six-minute Surprise! is the centrepiece of the album, showcasing Dawes’ ability to balance lyrical introspection with musical experimentation. Taylor Goldsmith’s lyrics reflect the unpredictability of life, capturing both the joy and disorientation that comes with life changes, such as parenthood, and this probably reflects that he and his wife Many Moore have just had their third child. The light-heartedness and sincerity of lines like “the goalposts just get moved” give the track a very relatable charm.

House Parties, the album’s lead single, captures the quintessential Dawes feel with its nostalgic, upbeat energy. It pokes gentle fun at curated tourist attractions in favour of authentic experiences: “It’s not that I don’t like museums, but we live near a few.” The track’s communal feel is mirrored in the accompanying music video, which features clips submitted by fans, highlighting the joy of shared human experiences, with a lot emphasis on dancing, drinking, and swimming pools.

King of the Never-Wills dives into themes of ambition and authenticity, with delicate instrumentation complementing Taylor’s reflective vocals. Similarly, The Game reflects on life’s competitive nature through intricate wordplay and shifting rhythms, blending storytelling with a musical journey that reflects the song’s core theme.

Enough Already tackles the frustration of overthinking with a blend of irony and sincerity. Goldsmith captures the relentlessness of self-doubt, in a way that’s easily relatable.

The closing track, Hilarity Ensues, wraps up the album on a wry and hopeful note. With a sparse piano and drum arrangement, the song offers a tongue-in-cheek perspective on life’s absurdities while hinting at an underlying optimism that ties back to the album’s exploration of identity and acceptance.

Oh Brother is an album that finds Dawes returning to their themes of bands, music, and friendships whilst never feeling that they are just repeating themselves. It strikes a balance between the tighter song structures of earlier albums, and more recent jam band pieces, to feel feel both intimate and expansive. Ultimately, Oh Brother captures a band finding new ways, lyrically and musically, to explore everyday themes in a way that is both personal and universal.

John Bradbury

Oh Brother will be released Friday, October 11th, 2024

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John Bradbury
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