The Jayhawks, one of Americana’s most enduring bands, have been with us now for three and half decades, slightly less in terms of recorded output. It only makes sense that at various points in time, the unit would need to reassess their direction and add some twists to their hallmark sound. Leader Gary Louris felt that it was time to step back a bit and give more limelight to his bandmates, both in terms of songwriting and lead vocals. Thus, XOXO, while broadening the band’s sound, becomes not a major shift, not even a detour really, but a refocus and sharpening of their hallmark jangly sound – brimming with country, folk, rock, and British Invasion power pop. It’s reinvigoration.
Admittedly, they moved off this writer’s radar with their extended hiatus in the mid-2000s, but now seem to be on a rhythm of an album every other year, based on 2016’s Paging Mr. Proust and 2018’s Back Roads and Abandoned Motels. Touring those albums gave Louris the idea that keyboardist Karen Grotberg and multi-instrumentalist Tim O’Reagan should get more lead vocal opportunities. Bassist Marc Perlman has always been a bit more in the spotlight than the other two, but Louris wanted to widen the circle. Each not only contributed songs and vocal leads but had their own purview of mixing choices.
Each member began to develop sketches of songs that the group fleshed out in informal writing sessions beginning in the Spring of 2019. When it came time to record the foursome retreated and lived together communal style near a secluded studio in rural Minnesota for two weeks to develop this album, for which the finishing touches were applied in Minneapolis. Inevitably, even for a veteran band that approach led to increased camaraderie which is reflected on the record. Yes, those glorious harmonies and versatile musicianship are very much intact, but the band took a few more chances than usual. Louris and O’Reagan trade-off leads with Grotberg on harmonies for the opening Louris/Perlman collaboration, “This Forgotten Town,” which sounds like vintage Jayhawks but rocks hard with loud rather than jangly guitars in the outro.
Given more latitude, O’Reagan brings hard-edged rock with “Dogtown Days,” moves to a more acoustic, finger-picked mode and a dreamy mood on “Looking Up Your Number” and chugs along on the chord-driven “Society Pages,” which features some explosive guitar as well. Perlman did a considerable amount of co-writing but steps forward on the lead vocal for the waltzing “Down to the Farm,” a story song owing to American and British folk. The piano-driven ballad “Ruby” is an elegant harmony-filled turn from Grotberg where she reveals her country Emmylou-like side on the pedal steel (Eric Heywood) imbued “Across My Field.”
In “letting go” Louris is still the principal writer and he found himself turning to more topical subject matter than usual. His “Living in a Bubble” begins with a Harry Nilsson like chord structure as he laments living in the ratings-driven news cycle. “Homecoming” takes on climate change and the current administration’s disregard for all things environmental. His glare is on the same target on “Illuminate,” a co-write with Perlman and Reagan that excoriates idol worship. Two others from Louris are the tale of forlorn stripper in “Bitter Pill” which features strong guest spots from Stephen McCarthy on electric guitar and John Jackson on violin; and “Little Victories,” a co-write with O’Reagan, filled with infectious riffs, resounding harmonies, and piercing guitar work that make it one of the outstanding tracks.
Increased camaraderie and the democratic approach have refreshed the sound, but this is indeed The Jayhawks sounding as wonderful as they ever have.
