PopMatters' 15 Best Folk Albums of 2021

Los Angeles, CA – Internationally acclaimed singer/songwriter Chris Pierce stands by the notion that music can cut through the isolated and static feelings for those of us worn down by the chaos of everyday life. He calls out to unite us under one sonic roof to speak up, sing out, rise up and resist with the offering of his new 21st century Americana freedom and justice album titled “American Silence” released on February 26, 2021. On the LP, Pierce channels legendary justice and freedom songwriters. With sparse acoustic instrumentation and unmistakable soulfully passionate vocals, Pierce creates an authentic sound all his own removed from time or trend. The full-length LP, “American Silence” soulfully spins original songs about a wide range of issues including justice, oppression, homelessness, black self-love, racism, mass incarceration, Immigrant Transcontinental Railroad workforce, Native American boarding schools, and a tribute to the American statesman and civil rights leader, John Lewis. The self produced album was recorded during a socially distanced session at Boulevard Recording in Los Angeles, California with only Pierce and the studio owner/engineer Clay Blair in attendance. Lead vocals, acoustic guitar, harmonica and background choir parts on the album were performed by Pierce. The music video for the title track of Pierce’s forthcoming album, ‘AMERICAN SILENCE’ recently premiered in Rolling Stone: “L.A. Singer-Songwriter Chris Pierce channels Richie Havens and Bob Dylan... It’s the sound of everyone who’s hungry for change, steadying themselves and marching toward a common goal.” NPR’s Ann Powers called the ‘American Silence’ single “...A good old fashioned folk music broadside” and “…the song white allies need to hear because it so beautifully says that loving protest songs isn’t enough.”

Speaking with Sunny War, her mind roves endlessly, jumping between topics, spilling out rapid fire thoughts like her wildly inventive guitar playing. The pandemic has driven many away from their creative centers, but Sunny’s been uncommonly busy. She founded a Los Angeles chapter of the nonprofit Food Not Bombs and put together a network of volunteers to distribute vegan food to the homeless. She marched for BLM in protest against police brutality and found time to cut a new album at her favorite spot, Hen House Studios in Venice Beach. Sunny’s last album brought her universal praise and a powerful Tiny Desk performance at NPR. You’d think that the next album would bring a whole suite of expectations, but Sunny shrugged these off easily. She’s motivated less by what others expect and more by her own inner muse, and she’s surrounded herself with an artistic group of friends who are constantly writing, recording, and playing music. Simple Syrup has a vibrant, loose feel, more focused on the interplay with the musicians than before. Sunny’s new songs touch on everything from romance to politics, jumping easily between larger concepts like the expectations for famous Black women in American art (“Like Nina”) and smaller ideas like “Kiss A Loser”, her ode to her own drunken self in relationships. One of the more powerful songs on the album, “Deployed and Destroyed” is about a friend that Sunny knew from the streets. A veteran of the Iraq Wars, she watched him fall apart from PTSD, another vet who was unable to get the care he needed and is now homeless and suffering from severe mental trauma. Watching so many friends fall apart under the pressures of COVID–losing jobs, being left behind–motivated Sunny to do more, to make change. Surrounded by relentless pressures from societal change, Sunny worked more closely with her community and embarked on a nearly year-long recording spree that brought two EPs (one of which, Can I Sit With You?, made a number of Best of 2020 lists) and now Simple Syrup coming in March 2021. The pandemic has been a crucible for Sunny, burning away the parts of the old world that didn’t truly matter and leaving her with a new purpose. Produced by Harlan Steinberger at Hen House Studios

It\'s no surprise Joy Oladokun cites Tracy Chapman as an influence. Armed with a guitar and an achingly beautiful voice, she\'s cut from the same mold, capable of telling stories with clear-eyed appraisal and unflinching vulnerability. “To see a Black queer woman take the instrument of the standard Americana dude and make it her own and tell her story was maybe the most inspiring thing that could have happened to me,” Oladokun told Apple Music\'s Ebro Darden in Februrary 2021. Now, *in defense of my own happiness*, Oladokun\'s major-label debut, cements her place within a lineage of folk singer-songwriters documenting the complexities of the human experience. The album opens with “someone that i used to be,” a contemplative ode to growth and evolution that she approaches with a level of gentleness often reserved for others but rarely the self. “Having trouble giving grace to every one of my mistakes,” she admits in the opening verse, only to later find at least a bit of it: “Looking at the face inside the mirror with kinder eyes.” It\'s this sentiment that underscores the songs here. She\'s able to muster the strength to be fragile and imperfect, content to not know all the answers—to be a work in progress. Oscillating between facing inward and outward, Oladokun balances confession with observation, though never losing her sense of mercy for herself and others. Single “Bigger Man,” a wrenching duet with Maren Morris, illuminates the grit and patience required to subsist in the face of inequality. “I\'ve turned sticks and stones to an olive branch, I\'ve made a full house from a shitty hand,” she sings on the anthemic hook, “yet here I am, still gotta be bigger than the bigger man.” Oladokun is measured in her singing; she opts, instead, to let her lyrics do much of the emoting. But in moments when she does open up her voice—on songs like “if you got a problem” and “jordan”—the versatility of her artistry is made plain as the vocal traditions of gospel and soul come into dialogue with her Americana and folk. It culminates on the string ballad “breathe again,” as she prays for respite from the world and for the “faith to bend.” As much a monument to her experiences as a declaration of release from them, *in defense of my own happiness* musically reveals Oladokun as both the root and the branch, but it\'s the permission she grants herself to grow freely (and, by extension, her listeners as well) that is ultimately transcendent.

A lot changed for Amythyst Kiah between the 2013 release of her debut album *Dig* and the making of *Wary + Strange*. The singer, songwriter, and instrumentalist gained significant notoriety as part of the roots music supergroup Our Native Daughters, with whom she earned a Grammy nomination (Best American Roots Song) for the song “Black Myself,” on which Kiah was the sole songwriter. Kiah reprises that powerful track here, though she does so in a way truer to her own personal musical sensibilities by fusing her love for both old-time music, which she studied at East Tennessee State University, and indie rock. *Wary + Strange* finds a rich middle ground between these seemingly disparate genres, primarily via the strength of Kiah’s songwriting and singing, the latter of which deserves just as much celebration as her masterful guitar playing, as well as studio assists from producer Tony Berg (Phoebe Bridgers, Andrew Bird).

Brooklyn’s The Brother Brothers will release their sophomore album Calla Lily on April 16th. Calla Lily is the follow-up to real-life siblings The Moss Brothers’ debut album, Some People I Know, which garnered praise from taste-makers including NPR, Billboard and Rolling Stone Country. The album’s lead single, “On the Road Again,” sets mood of the album and showcases the brothers’ warm, immediate harmonies. Ironically, the Moss brothers wrote “On The Road Again” — a quintessential road that explores the life of the touring musician and speaks to one’s longing for the road — before the pandemic hit; it’s a paean to the connection and company of that diasporic artist community forged across stages, festival grounds, and long, winding roads. The music video for “On The Road Again” kicks off with the brothers leaving New York City in the tour van and features a convoy of whimsical animated creatures who are along for the ride, culminating in a cartoon concert along the Hudson River. David Moss says of the track: “There’s no denying that life in motion can leave a person lonesome or aimless, but so can sitting still. The same part of our beings that gets homesick aches for life on the road. This song’s an exploration of that duality — a celebration and a lamentation in one.” Calla Lily was produced and mixed by Grammy-nominated Ryan Hadlock (The Lumineers, Brandi Carlile, Vance Joy) at Bear Creek Studios in Woodinville, Washington and mastered by Grammy-nominated Phillip Shaw Bova (Andy Shauf, Father John Misty).

For Valerie June, spirituality and creativity are one and the same. The acclaimed singer, songwriter, and instrumentalist offered cosmic wisdom on her 2017 sophomore album *The Order of Time*, a collection of folk-leaning tracks that also significantly raised the profile of the Tennessee native. On her follow-up *The Moon and Stars: Prescriptions for Dreamers*, June leans further into her spiritually driven songwriting, telling Apple Music that the impetus of the album was, in part, to inspire others to use their gifts to make the world a better place. “There’s a creative space that you go to inside yourself,” she says, adding that it’s important to “begin to work with the elements in that space and to keep that space sacred and not let people take it.” Opening track “Stay” reminds the listener of the importance of staying present in a given moment, while also introducing the lush, more complex sound that June built alongside co-producer Jack Splash (Kendrick Lamar, John Legend). “Call Me a Fool,” which features legendary Memphis soul singer Carla Thomas, and “Fallin’” muse on the power and risk inherent in following a dream. And “Home Inside” channels the transformative power of introspection for an open-minded, open-hearted ode to spirituality. Below, June talks Apple Music through a few of the key tracks. **You and I** “You\'ll notice there\'s two of everything on the record: two drummers, two guitars. We were able to build the sound and take it and make it just that much crazier to meet what I was hearing in my head. The first layering of it I was like, ‘No, I hear it more dimensional, I hear more sonic madness.’ And it\'s a song for sharing, it\'s a song for friendship, for discovery. And for realizing that our thoughts and our intentions, when we join them together with others, that\'s what\'s creating the world we see. And we can\'t have anything without each other.” **Call Me a Fool (feat. Carla Thomas)** “The fool card in the tarot deck represents new beginnings. It represents being on edge and adventurous and crazy and daring. So ‘Call Me a Fool’ is a song for taking the leap. It\'s for being afraid of failure and having the confidence to say, ‘Yeah, I know society might not be ready for my dream of peace and love or whatever the hell it is, or my relationship or whatever, however you relate to it.’ By the end of the song, Carla, the one who was the warning and wise fairy godmother \[in previous track ‘African Proverb’\], she\'s like, ‘Well, I\'m glad you did it, baby.’ And she sings along with you.” **Smile** “It’s a song of transcendence, a song of hope and possibilities and being reborn. And as a Black woman, looking at my people, we\'ve had to continue to be reborn. And sometimes there have been times where all we had was a smile and just to say that that\'s not going to be taken. And for each person, no matter what race they are, to realize that your joy and your positivity and your beauty and the way you see the world—it is a power and it is a tool and it can be manipulated if you let it. But if you don\'t let it, it\'s one of your greatest gifts.” **Within You** “It\'s a mantra song. It is a song for carving out sacred space in your life, inside of yourself, every day.” **Starlight Ethereal Silence** “Jack and I decided that we needed 30 seconds of silence on the record, because I believe that silence is music and that no moment is ever completely silent. And I realized that we, as humans, can\'t hear everything. Your dog can hear things that you can\'t hear, or a dolphin can hear things that humans can\'t hear. So I just wanted to have that moment carved out of silence but then enter into the realm where we\'re being mindful, and we realize that, ‘Hey, yeah, we\'re humans and we\'re special, but we\'re not the only thing on this Earth, making music.’”