In a year when there was a lot to keep track of – and in which I began working on another album of my own – music was most often a source of comfort as much as new experiences. This meant a lot of play for old favourites – Fleet Foxes, Fiona Apple, Iron & Wine – and getting more closely acquainted with hold-overs from 2020 – Charley Crockett, Kris Drever, beabadoobee.
This did something of a disservice to poor old 2021, however, since musically it was a pretty progressive year, even if much else about it felt weirdly cyclical. St Vincent released Daddy’s Home, her best album since her last one (everything Annie puts out belongs on that year’s top-five, but let’s accept this and pretend she waived her nomination); Villagers returned with a really interesting record which made demands on the listener while also being an obvious extension of Conor O’Brien’s well-established mien; and Teleman released an EP so full of life it may as well have been an album (but wasn’t). More locally, new releases from Sam Draisey, Howard Sinclair and John Napier were welcome filips of grassroots creativity.
But my traditional quintet of “best” albums this year reflect a combination of my gratitude for new music and my need for comfort. All of these records fulfil the usual criteria I set for these lists – that they do something different, whether for genre or artist or something else. But they’re all also pretty convivial, all told – they focus on songwriting and for the most part approach that practice fairly straightforwardly. This wasn’t conscious on my part, but that’s how the five records below looked to me once assembled. Your mileage may vary – you should listen to all of them and make your own mind up, of course.
The Staves – Good Woman
Now this is a smart record. It is both instantly welcoming and subtly sly in its innovation, quietly twisty in a way that doesn’t announce itself. The Staves might have previously answered to the description twee, even smug – the accusation would have been unfair, but their debut album in particular and even their work with Justin Vernon mixed pastoral and indie in a way that listeners in bad faith might easily have lampooned. Good Woman, though, is a properly mature work which incorporates its influences, and the sisters’ skills, in ways both seamless and productive. This is a record to put on and live with, a warm fire on an autumn’s evening.
Sierra Ferrell – Long Time Coming
If Good Woman is quiet but clever, Long Time Coming is loud but charming. Its honky-tonk instrumentation is never less than tasteful, but the country twang here isn’t exactly sanded off – if anything, the edges are given ample room to catch you. Some of Ferrell’s long-term fans have disliked this album for filling in the spaces of these songs, which Ferrell usually performs solo or with one or two other musicians. But I think the approach really works to emphasise both the attitude of Ferrell’s songwriting and the clarity and quality of her voice. These are country standards in waiting, and yet they are also sufficiently contemporary in their approach that they do not read as pastiche or museum-piece. Difficult balancing act, that; quality record, this.
Nubiyan Twist – Freedom Fables
If there’s a wild card on this list, Freedom Fables is it: Afro-Jazz heavy on improvisation, it doesn’t quite hit the songwriting bill that most of these other records slot into easily. But musically this LP really struck me: not only is it properly joyous, it also avoids the pitfalls of its concept with a fixed focus on musical structure, an unceasing commitment to keeping the core of a song clear throughout (compare this with an act like Sons of Kemet, who take their songs far more brutally through a wringer of abstract deconstruction). Given the range of influences here – from dub to Ghanain pop – this sense of focus is a really impressive achievement, especially when aligned to the album’s trademark sense of fun.
Orla Gartland – Woman On The Internet
This album might include my favourite examples of pure songwriting all year: both “You’re Not Special, Babe” and “Codependency” are as arch and knowing as the album’s title (Gartland was discovered via her YouTube covers videos) – but they also share its sense of fun, and its absence of self-importance. Given these are also vital songs with a sense of urgency, this speaks to Gartland’s rare skill in turning a phrase both witty and musical. And the melodies and arrangements here are a real thing: very often on records this smart, a production choice is made to focus on the words, and if the singer is always the centre here she is never the only focus – or rather, her focus is on songs understood holistically, as little hybrids of lyric and tune. This album more than any other on the list made me excited about songwriting again. Don’t take this sort of gift for granted.
Self Esteem – Prioritise Pleasure
She’s not “Rebecca from Slow Club” anymore. Don’t get me wrong: I’m a particular fan of that duo’s 2011 LP Paradise, but Self Esteem – and this record in particular – is another thing entirely, and yet despite its impressive experimentation and provocation it has caught the zeitgeist and appeared on any number of 2021 “best of” lists. From the title track to “I’m Fine”, “I Do This All The Time” to “How Can I Help You”, this is songwriting without fear (or indeed favour), with bags of humour but also entirely earned seriousness of purpose. It isn’t afraid of making the listener uncomfortable, yet also wants them to dance; it faces down any number of cultural and musical shibboleths and yet somehow crafts instantly accessible tunes. It’s blummin’ alchemy, this record, and it is something else. 2021 was a year indeed.