waxahatchee

2024 Superlatives | The Marinade's Favorite Records of The Year

Damn, what a year for music! I suspect we all finally had a chance to catch our collective breath and listen for the first time in almost ten years. The wind was taken out of us in November, but by then so many incredible records had been released.

This year I have decided to compile a list of the records I loved the most and indicate whether I acquired a physical copy. These are presented in no particular order. Think of it as a catalog of the records i spent the most time with because they spoke to me.

I will also be releasing an episode of The Marinade where I talk about my top five most meaningful records from 2024. make sure to follow The Marinade and Marinade Media on socials and subscribe on your podcast app. Hope you enjoy!

Cheers,
JE

John Moreland Visitor (Bought the indie exclusive vinyl at Park Ave CDs in Orlando)

Johnny Blue Skies Passage du Desir (Bought the vinyl at Park Ave CDs in Orlando)

Chris Robeson Euphoriphobia (His publicist sent me a CD. This record is so good.)

Pony Bradshaw Thus Spoke the Fool (I think I got this one on Bandcamp Friday. It’s a very cool splatter vinyl.)

Boulevards Carolina Funk: Barnburner on Tobacco Road (Vinyl from Park Ave CDs)

American Aquarium The Fear of Standing Still (Indie Exclusive from Park Ave CDs)

Dustin Kensrue Desert Dreaming

Rambler Kane Live at Blue Jay Listening Room (Bought a CD from the man himself at his show with Jonathan Peyton and Abigail Peyton)

Sammy Kay July 1960 (Again, bought from the man himself)

Josh Morningstar S/T

Silverada S/T

Aaron Lee Tasjan Stellar Evolution (His publicist sent me a promotional copy. We were going to record an episode of The Marinade but scheduling got in the way. I need to follow up with him.)

Joe Pug Sketch of a Promised Departure

Kasey Anderson To the Places We Lived

The Kilograms (Ordered it from Sammy Kay himself.)

Rich Ruth Water Still Flows

Jonathan Peyton Nothing Here’s the Same (Pre-ordered this one from Jonathan)

Gillian Welch and David Rawlings Woodland (Pre-ordered the indie exclusive from Park Ave)

Katy Kirby Blue Raspberry (Deluxe)

Adrianne Lenker Bright Future

Hurray for the Riff Raff The Past is Still Alive

Taylor McCall Mellow War

Emily Nenni Drive and Cry

Kendrick Lamar GNX

Micah Schnabel The Clown Watches the Clock (Bought a copy from Micah at his show at Lil Indies in Orlando, which was incredible.)

Adeem The Artist Anniversary

Amythyst Kiah Still and Bright

The Felice Brothers Valley of Abandoned Songs

MJ Lenderman Manning Fireworks

Waxahatchee Tigers Blood

Oliver Wood Fat Cat Silhouette 

The Cure Songs of a Lost World

Daryl Hance Devil’s Millhopper

Jordan Foley Leave Your Messages

Nick Gusman and The Coyotes Lifting Heavy Things

Justin Bloss Claymore

Jason Isbell and The 400 Unit, Sheryl Crow, and Waxahatchee Live Review and Photos | St. Augustine Amphitheatre | June 10, 2022

Katie Crutchfield (Waxahatchee) and her band take the stage as folks file into the St. Augustine Amphitheatre. It’s a balmy June night like so many before in this perfect venue. She takes the stage as a lion. A multi-talented cultural force who has sold more than 50 million albums and our greatest living songwriter are up next in succession. Titans who have thirteen Grammy awards between them.

Waxahatchee may not yet have the same name recognition as Jason Isbell or Sheryl Crow but what she lacks in notoriety she makes up for with stage presence and songwriting chops.

No matter how powerful the performer, there is often no way around a few folks talking through the opener. For every cluster of chatter tonight there is an equal or opposite bundle of boosters standing, swaying, stomping, and singing every lyric as Waxahatchee rips through songs from her five wonderful records.

By the time the crowd begins to settle at the end of Waxahatchee’s set, her merch table has a line to rival Sheryl Crow and Jason Isbell. New fans have been made. Existing relationships fortified. 

Photo by Jenn Ross

Sheryl Crow is due on stage at 7:30 and arrives not a second overdue. It is easy to take her greatness for granted. Nine Grammy awards and hit after hit for thirty plus years. For many of us in attendance, Sheryl Crow has been making cool stuff for damn near our entire lives. That kind of consistency and longevity of excellence can lead to supportive complacency. Tonight is a reminder of her brilliance. 

“Let’s take it back to when your kids were born,” Crow ribs as she finishes “If It Makes You Happy” and launches into “All I wanna Do.” As you read those titles, each tune made an immediate appearance in your mind’s eye. For folks in their thirties and forties, our childish crushes have turned to admiration for this woman and the contributions she has made to our popular culture.

Sheryl Crow is so damn cool. Every song in the set is a hit, and not just a tune that charted well. These are songs with generational staying power. Every word of the entire set is cemented in our popular consciousness.

Ten songs in, the hit parade still marching, Sheryl Crow announces Jason Isbell is going to join her for a cover of Bob Dylan’s “Everything is Broken.” Out of all the Dylan songs, this one from his mid-period seems like a curious choice at first. Halfway through the first verse it is clear “Everything is Broken” is the perfect duet for Crow and Isbell. 

Photo by Jenn Ross

Sheryl Crow and Jason Isbell share the rare combination of commercial connectability and artistic integrity. “Everything is Broken” feels meant for a duet in their hands. It is a mainstream chart worthy tune that dives deep. The song dabbles in the blues without trying to sound like it is from the Delta. It is a folk song and a rock song. A singalong. In so many ways “Everything is Broken” showcases the qualities that made us fall in love with Sheryl Crow and later Jason Isbell.

Crow closes out the set with a performance of her smash hit “Soak Up the Sun.” We needn’t wait too long for Jason Isbell and The 400 Unit to take the stage a few minutes ahead of schedule. Jason Isbell opening songs have become an event in themselves. At this point in his still rising career, he has released four classic studio records of original music preceded by three great efforts. His contributions to Drive-by Truckers remain some of the best in their illustrious catalog. How does he fill the leadoff spot from that roster?

Photo by Jenn Ross

Most folks have settled in their rows for the closing set. When Isbell and The 400 Unit played this same venue in 2021, the pit was general admission, standing room only. Right now it feels like we should all have an agreement to treat the amphitheatre like one big pit. 

Alas, this is a mixed crowd. Some folks are here for Sheryl and stayed for Jason. On the whole, this group skews older than a typical Isbell show. While many of us may selfishly wish we were on our feet, compromises must be made in the name of rock.

“What Have I Done To Help” kicks off the set. The song captures the energy of a live Jason Isbell and The 400 Unit show better than any piece of music journalism could. 

Isbell does so much well. Perhaps his most powerful skill is pointing a lens at society in a way that is personal and pointed, yet unpretentious and hopeful. “What Have I Done To Help” and its follow up in this set “Hope the High Road” capture the energy of the band’s community. 

Photo by Jenn Ross

During a Jason Isbell and The 400 Unit show, the doubts that plague so many of us right now are replaced by a sense that there “can’t be more of them than us.” The concert is not an escape. Problems are not swept under the rug. It’s just that here you feel less alone. You feel like we can do better. We can acknowledge the nasty bits and not get so bogged down in them that progress feels impossible. 

At the end of the night we have heard songs from the beginning of Jason Isbell and The 400 Unit’s catalog. They have played “Elephant” and “24 Frames” and “Cover Me Up.” There was even a performance of Drivin’ N Cryin’s “Honeysuckle Blue” from the excellent Georgia Blue record- Sadler Vaden owning the vocals. 

The encore included “Tour of Duty” played by Sadler and Jason like they were a progressive bluegrass duo. All of that goodness yet nothing from Jason Isbell’s time with the Drive-by Truckers. No matter. This band has come a long way since the “Stop Fucking Around and Play Outfit” tour.

Photo by Jenn Ross