{"id":10798,"date":"2026-05-14T12:31:11","date_gmt":"2026-05-14T12:31:11","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/05\/14\/kevin-morby-little-wide-open-review-midwestern-elegist-mulls-over-the-mystery-of-lifes-big-questions-culture-the-guardian\/"},"modified":"2026-05-14T12:31:11","modified_gmt":"2026-05-14T12:31:11","slug":"kevin-morby-little-wide-open-review-midwestern-elegist-mulls-over-the-mystery-of-lifes-big-questions-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/05\/14\/kevin-morby-little-wide-open-review-midwestern-elegist-mulls-over-the-mystery-of-lifes-big-questions-culture-the-guardian\/","title":{"rendered":"Kevin Morby: Little Wide Open review \u2013 midwestern elegist mulls over the mystery of life\u2019s big questions Culture | The Guardian"},"content":{"rendered":"

(Dead Oceans)
<\/strong>With help from Aaron Dessner, Bon Iver and Lucinda Williams, the Americana artist shares his uncertainties around his roots and relationships in unhurried, subtly melancholic songs<\/p>\n

The first track on Kevin Morby\u2019s eighth album is called Badlands. It refers to the unforgiving terrain of the American midwest and also comes freighted with pop cultural references: the title of Terrence Malick\u2019s bleak 1973 neo-noir movie loosely based on the spree killings of Charles Starkweather; the ferocious track from Bruce Springsteen\u2019s 1978 album Darkness on the Edge of Town that depicts the lot of a frustrated blue-collar worker \u201csmashing in my guts\u201d in a nowhere town. Unforgiving terrain, violence fuelled by nihilistic rage, frustration: the listener is thus primed for a song on which Morby, who was raised between the farmland of Missouri and the suburbs of Kansas City, paints a stark picture of the America from which he hails. But Badlands isn\u2019t so straightforward. It\u2019s driven by big, punchy, slightly distorted drums, but the music that plays over them is strangely laid back: a clean, clear guitar plays a gently addictive riff, Morby\u2019s vocal has a conversational tone, there are sweet vocal harmonies. On the one hand, the lyrics talk about \u201cthe big disaster we call home\u201d, but on the other suggest that \u201cheaven is a place on Earth beneath the golden sky\u201d. He concludes, with a shrug, \u201cI can\u2019t tell if I\u2019m in heaven or the badlands.\u201d<\/p>\n

It sets the tone for an album that, in the best way, can\u2019t quite work out what it thinks, conjuring a series of grey areas. Morby is particularly acute on the weird push and pull exerted by one\u2019s home town, comforting familiarity and nostalgia (\u201chome smells like cinnamon and the sad passing of time\u201d) and doing battle with the sense that you never quite fit in: \u201cWhere no one ever makes a sound except me on this guitar,\u201d as Morby puts it, a bluesy acoustic lick suddenly disrupting the austere sound of Cowtown for emphasis. But a sense of equivocation seeps into everything. On Natural Disaster, Morby can\u2019t decide whether his swings in mood are something that should be dealt with via medication or meditation or just a natural occurrence, like landslides or hurricanes, that he furthermore needs as songwriting fuel. Die Young looks back on youthful hedonism with a shudder (\u201cthank God we didn\u2019t die young\u201d) that can\u2019t fully undercut how fondly he relates a succession of on-the-road touring scrapes.<\/p>\n

Continue reading…<\/a>\u00a0<\/p>\n

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(Dead Oceans)With help from Aaron Dessner, Bon Iver and Lucinda Williams, the Americana artist shares his uncertainties around his roots and relationships in unhurried, subtly melancholic songs The first track on Kevin Morby\u2019s eighth album is called Badlands. It refers to the unforgiving terrain of the American midwest and also comes freighted with pop cultural...<\/p>\n","protected":false},"author":1,"featured_media":10799,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-10798","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nKevin Morby: Little Wide Open review \u2013 midwestern elegist mulls over the mystery of life\u2019s big questions Culture | The Guardian - Cultural Left<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturalleft.org\/cl\/2026\/05\/14\/kevin-morby-little-wide-open-review-midwestern-elegist-mulls-over-the-mystery-of-lifes-big-questions-culture-the-guardian\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kevin Morby: Little Wide Open review \u2013 midwestern elegist mulls over the mystery of life\u2019s big questions Culture | The Guardian - Cultural Left\" \/>\n<meta property=\"og:description\" content=\"(Dead Oceans)With help from Aaron Dessner, Bon Iver and Lucinda Williams, the Americana artist shares his uncertainties around his roots and relationships in unhurried, subtly melancholic songs The first track on Kevin Morby\u2019s eighth album is called Badlands. 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