Released in 2021, the debut album by Chicago outfit Tobacco City attained an uncommonly rich blend of cosmic country ambiance, psychedelic tendencies, and straight-up honky-tonk verve. Roughly five years hence comes second album Horses, like its predecessor released by Scissor Tail Records, out March 7 on vinyl (limited to 500 copies) and digital. It builds on the strengths of the debut and is a treat from start to finish.
Tobacco City, USA was presented as the achievement of a band, though even at that early point the lineup hadn’t been constant and it was pretty clear that the core of the whole shebang was guitarist-vocalists Lexi Goddard and Chris Coleslaw. Horses makes this even more apparent, even as bassist-backing vocalist Eliza Weber and drummer Josh Condon return, and the list of contributors expands.
To say that Tobacco City is indebted to Emmylou Harris and Gram Parsons is like saying diabetes is indebted to doughnuts. The connection is clear, but Goddard and Coleslaw make it interesting by leaning into psychedelia and particularly the more inspired aspects of post-New Weird Americana. Everyone knows (or should know) a weathered old Deadhead who will claim that Horses is exactly the way they played it back in the day, but the reality is that Tobacco City thrives on experience, learning from and not repeating the mistakes of the past to result in a more consistent expressiveness.
What’s shared with Harris and Parsons is a respect for their inspirations that results in organic warmth while eschewing shallow facsimile. Opener “Autumn” is infused with soaring harmonies and pedal steel while being anchored by a sturdy rhythm. Following, “Bougainvillea” can hint (as did Tobacco City, USA) at a honky-tonk-inclined Mazzy Star.
“Time” is more psychedelic in comportment, but springing from a country-folkish foundation; as said, consistency. “Way to Get Out” is very much a honky-tonkin’ proposition but with a lack of slavish reverence that lends freshness and a subtle air of distinctiveness a la Sweetheart of the Rodeo-era Byrds and prime Flying Burrito Brothers (to bring it back to Parsons).
For “Fruit From the Vine” Goddard takes center stage for an album highlight that presents a ’70s singer-songwriter avenue for the Tobacco City. The up-tempo “Buffalo” should get those Deadheads all in a tizzy, especially those with some prime boo stashed in their Brewer and Shipley gatefolds. Spark that shit up! The pedal steel just glistens, and then comes a concluding homage to the cowboys songs of yore.
It’s with “Colorado” that Horses really hits its country-folk-rockin’ stride, and then “Blue Déjà Vu” scales it back to just vocals and guitar and lets the drums drop in at just the right spots. Next, “Mr. Wine” spreads out to six minutes for a late album delight. The title track here is actually three short pieces interspersed throughout (and concluding) the album that nicely tighten up the connection to the neo-psych tradition. It’s better living through twang, ya’ dig?
GRADED ON A CURVE:
A-
