For his eighth studio album, Kevin Morby has enlisted the help of Aaron Dessner, although it could be said the collaboration was the producer’s idea in the first place. Morby had been supporting Dessner’s band, the National, and there’s clearly a real connection between the two, founded upon mutual respect and appreciation. Intermittently, it’s as much fun for us as it clearly was for them.
‘Little Wide Open’ is dominated by its gargantuan centrepiece: the eight minute title track. In addition to Dessner’s presence, Morby has also enlisted the help of several talented friends throughout. Here, Mat Davidson provides a vital fiddle as Morby talks of pain becoming too much in his familiar Dylan-esque drawl. Pedal steel from Colin Croom adds another touch to a melting pot of ideas.
Either side of this heartbeat, the album varies considerably. Morby’s vocals sit somewhere between former War on Drugs bandmates Kurt Vile and Adam Granduciel, which is evident from the off on the subtle but stunning opener Badlands.
The track picks up gradually, Morby declaring: “I can’t tell if I’m in heaven or the badlands.” Die Young benefits from Vile-like banjo to send a nod in the direction of the Connells’ ‘74-‘75.
Catchy lead single Javelin is a big winner here. Jaunty and upbeat, it goes against the album’s general grain. Built around an irresistible hook, Amelia Meath’s gorgeous backing vocals provide a beautiful contrast before the harmonies.
The first half of the album contains another couple of standouts in the seven minute Natural Disaster, featuring both Lucinda Williams and Bon Iver’s Justin Vernon, which ticks along very nicely before an exhilarating guitar solo takes hold. 100,000 starts life as a heart-warming epic in the style of Timothy Showalter’s Strand of Oaks, concluding with a spine tingling contribution from Perfume Genius’s Meg Duffy (guitar) and Tim Carr (drums).
The second half falters somewhat. Cowtown, Bible Belt and Junebug all come and go without leaving much of an impression, as does I Ride Passenger, although its banjo does conjure up a little something extra. Closer Field Guide for the Butterflies does its best to recapture a little of the magic that’s gone before it but, by then, rapt attention is hard to come by.
The multi-skilled Dessner (he plays around nine instruments on the album) is building a huge legacy through his production work, perhaps even more so than with his own band. Huge acts like Taylor Swift and Ed Sheeran are among the most recent beneficiaries of his talents, and his presence undoubtedly shines a bigger spotlight on Morby than he’s used to. ‘Little Wide Open’ has enough about it to be worthy of attention, particularly during its fascinating first half, but the connection between the artist and listener is unlikely to be as strong as between artist and producer.
Kevin Morby Upcoming Tour Dates are as follows
Wed July 08 2026 - LONDON Troxy
Thu July 09 2026 - MANCHESTER O2 Ritz
Fri July 10 2026 - BRIGHTON Chalk
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