I thought stomp & holler music had been dead for years. But interestingly, it’s the crux of what Noah Kahan’s brand is built upon. And people love it.
Kahan hit his stride following his 2022 release, “Stick Season,” which captivated an audience that hit the intersection of pop-folk lovers and mainstream listeners desperate for something new. He fills the niche of those desperate for some sort of in-between of both Hozier and Gracie Abrams.
Building a catalogue that prides itself in his own New England-ness, Kahan skyrocketed to the top of the music pyramid off the back of the “Stick Season” title-track. From there, an extremely successful tour, collaboration album and a festival run filled the span of the next three years of his career.
One of the final shows on his run was on the stage of the DMV’s very own Merriweather Post Pavillion, for the All Things Go festival, which I was lucky enough to witness. Kahan has a sense of charm that makes you want to root for him, even if you may not exactly like him. Whether that be due to his relationship with his fans, his social media presence, or the seemingly “normal guy” vibe he seems to exude – Kahan has separated himself from the average pop star.
“Stick Season” was a laid-back, earthy attempt at the intersectionality of pop and folk, which roped in listeners of both (like myself), but left some listeners rolling their eyes. The up-tempo, snappy nature of the project made it a force to be reckoned with on social media and even the radio, but throughout Kahan’s festival run, his snippets of unreleased tracks made it clear he wanted to make something different.
Following the final festival shows, he dropped the lead single and title track, “The Great Divide”, which felt like a more rock and roll approach to the previous sound he had built for himself. With the accompaniment of one of his band’s best performances, the lead single caught fire immediately, before he slowed down the pace with the following single, “Porch Light”.
One thing is evident in terms of “The Great Divide,” this project is Kahan’s most vulnerable. Throughout its entire rollout, he touted it as everything he has needed to say over the course of his rise to fame. In an Instagram post following the release of the project, he noted, “I spent many months walking forward in complete darkness, desperate to touch something familiar that would show me I was near the light switch again.”
The opener, “End of August,” feels like some of Kahan’s most emotional writing, making it possibly the peak of the entire project. It’s clear through the song that the album is an ode to fading memories, especially those of the summer. Throughout a majority of the project, but especially in the opener, there is an overlaying tint of lost nostalgia, which is represented through the summer metaphors and the grandiose construction of the hooks.
It is clear that Noah Kahan has vocal chops, too. He commands your attention through his twangy, New England vibe that bleeds into every corner of the project. What he especially does well is the ability to raise his voice in accordance with the instrumentals, instead of shying down into the music. He has the ability to rise above the sound, hitting impressive notes throughout all without becoming too preachy or loud.
That emotional intensity is what ultimately separates “The Great Divide” from “Stick Season.” Whether there be a sliver of depression plaguing certain tracks or even the signals that Kahan provides throughout his vocal performances. So while a lot of the tracks between the two share a similar sound, his newest project differentiates itself through the subject matter. However, this is also a source of contention that I have with the project.
Kahan refuses to differentiate his sound from album to album, forcing his hand to rely on subject matter when his writing isn’t good enough to build the entire project off of it. I’m not saying he can’t be a profound writer at certain times, but there are only so many authentically-Vermont metaphors he can work with until his project reaches a certain level of corny – that’s his biggest problem. His music has always been a subject of corniness, but when you make a project that overstays its welcome so blatantly, it’s hard not to roll your eyes at certain songs.
“The Great Divide” would’ve been a great project if it had cut itself down by four or five tracks, rather than the 17 song tracklist. It would’ve been a perfect length if it sat under an hour, but Kahan left his fans with 78 minutes worth of music. The project shows promise and has enjoyable moments, but it’s hard to overlook the areas where he shot himself in the foot.
Overall Score: 5.5/10