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Levi Lowrey finds his voice on self-titled album

By Jesse Campbell (

Article Published: Jan. 23 | Modified: Jan. 23
Levi Lowrey finds his voice on self-titled album

Levi Lowrey is a well traveled, well versed songwriter who carries the country boy image as well as he carries a tune on his self-titled release.

Perhaps known best for his contributions to the Zac Brown Band, Lowrey has no qualms when it comes to finding his own voice on another catchy compilation of self-reflection and tracks on life in rural America.

Lowrey opens with a powerful cry to life at home in “Picket Fences” before following with “December 31,” which resembles The Counting Crows’ “Long December” both in content and song structure.

“Trying Not to Die” is your archetypical country song on coming of age and growing up, while remaining true to youthful ambitions, as well as picking yourself up and dusting yourself off — a common adage in many country songs today.

While Lowrey hovers precariously between self-loathing and more uplifting tunes throughout the album, he remains true to his roots and his craft in “High and Lonesome” — a more personal look at solitude and finding yourself.

He kicks it up a notch and forgets his “Whiskey Lullaby” influences in the tent revival, Bible-thumping track, “That Is All,” in which Lowrey remembers his humbling position on the spiritual totem pole — a track that could easily find a place on the “O Brother, Where Art Thou?” soundtrack.

Lowrey continues his party-on-Saturday-night, repent-on-Sunday-morning tone in “Before the Hymnal Died” and “I’ve Held the Devil’s Hand.”

“Urge For Leaving” is a more powerful account of Lowrey’s tale of a broken home and his quest for finding a true father figure and how the scars of growing up without a dad can cut a man to the bone.

Lowrey’s tempo — and general disposition in life — seem to drop off considerably in “Window Pane Soul” and “What She Don’t Know,” which are more of the same as far as country love songs go.
“Don’t Blame Me” and “Long Way Home” are the album’s more forgettable tracks, as Lowrey seems to have rehashed chords and lyrics from the record’s earlier songs.

“Flywheel” is a rock/country instrumental that conjures images of a honkytonk romp in a rural dive bar.

While Lowrey doesn’t exactly break the mold in his latest album, the self-titled release more than owns its place in his discography and is a welcome glimpse into this Southern boy’s life.

For more information, including a free download from Lowrey’s new album, visit

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