And it's still alright / Nathaniel Rateliff.

Enhanced descriptions from Syndetics:

By the time Nathaniel Rateliff reinvented himself as the fiery retro-soul dynamo behind the 2015 hit "S.O.B.," he'd already spent well over a decade plying his trade as a sort of journeyman songwriter, first fronting a popular Denver-based roots rock band, then releasing a handful of earnest acoustic solo albums during the early-2010s indie folk boom without gaining much traction. With the help of friend and producer Richard Swift, Rateliff re-emerged fronting a tight soul combo called the Night Sweats, significantly upping his fun factor and finally earning some of the success that had previously eluded him. Two raucous albums, thousands of road miles, and one divorce later, he's back to solo work on the ruminative 2020 set And It's Still Alright. Already reeling from the disintegration of his relationship, the sudden death of Swift caused Rateliff to take a few steps back from the chaos of the previous few years and reexamine his whereabouts. Both a poignant tribute to his friend and former collaborator and a weary meditation on love and death, And It's Still Alright cuts a curious balance between tender introspection and a playful sense of confidence he's carried over from the Night Sweats era. Of the former, tracks like "Time Stands" and the title cut play as expected given Rateliff's personal circumstances; both are wounded paeans to loss and love wrapped in a woolen blanket of gentle and familiar Americana. Tonally, they recall his last solo record, 2013's Falling Faster Than You Can Run, and feel like somewhat of a retreat. Far more interesting are standouts "All or Nothing," "Expecting to Lose," and "Tonight #2" -- a stellar trio grouped together in the album's front half that melds some of the singer's Night Sweats swagger with the poetic savvy of early-'70s Harry Nilsson and Leonard Cohen albums. With its lilting string section and dreamy celeste chimes, the excellent "All or Nothing" in particular swings with an unexpected dose of whimsy, while the rousing and bluesy "Expecting to Lose" is easily the catchiest offering here. Similar to those three tracks is low-key opener "What a Drag," whose easy shuffle is propped up by a beguiling melody and a nifty little slide guitar riff, one of several instances where Rateliff shows off some of his prowess as an instrumentalist. While And It's Still Alright is nearly worth it for those four tracks alone, the quieter folk-based songs have their place, too, and provide the contrast that better reflects life's ups and downs. ~ Timothy Monger