Music Reviews
Massy Ferguson

Massy Ferguson

You Can’t Tell Me I’m Not What I Used To Be

North & Left Records

With their seventh album, You Can’t Tell Me I’m Not What I Used To Be, Seattle’s country-rock/Americana outfit Massy Ferguson offers up raw, rootsy music full of Midwestern echoes vaguely reminiscent of Bruce Springsteen’s Nebraska or Mellencamp’s Scarecrow.

The title of the album is philosophically intriguing, implying that despite changing, as everyone does — becoming older, wiser, and more experienced — some things remain the same. Massy Ferguson’s sound, even though it’s evolving and expanding, essentially still sounds like Massy Ferguson, simply because their sound is their identity, and their identity is their sound.

Frontman Ethan Anderson shares, “We’re getting out of the bar. We’re expanding to other rooms, and we’re using different sounds. Maybe this is a fork in the road, where we start to go in a new direction.”

Massy Ferguson
Niffer Calderwell
Massy Ferguson

Made up of Anderson (vocals, bass), Adam Monda (guitar, vocals), Fred Slater (piano, keyboards), and Dave Goedde (drums, percussion), the new long player was produced by Damien Jurado. Also contributing to the album: Micah Hulscher (piano, keyboards), Craig Curran (bass, electric guitar), Zan Fiskum (vocals), Alex Johnston (tubular bells, vibraphone), and Bradley Hawkins (cello).

You Can’t Tell Me I’m Not What I Used To Be begins with “So Long, Carry On,” a song based on some backstage chords strummed by Monda while waiting to go out and play a show in New Jersey. The song blends hints of Americana and gospel into an almost hymn-like melody topped by evocative vocals, highlighted by Fiskum’s beautifully wistful tones.

“That moment was the genesis of the whole record,” says Ethan Anderson about “So Long, Carry On.” “From there, we started writing songs almost daily, and it felt like we were alive again. Basically, an album came from that one idea we had on tour.”

Entry points include “When You’re Not Around,” which conjures up suggestions of early Springsteen with its deliciously raspy vocals and guitars dripping twangy notes of Americana-rock. Whereas “You Were So High” recalls Springsteen fronting The Band. A slow, drifting melody meanders on almost abrasive textures that emanate a melancholic longing. There’s an alluring magnetism to this track because it summons forth poignant memories.

A personal favorite because of its visceral authenticity, “I’m Almost There” evokes emerging feelings of “everything will work out okay in the end.” Anderson’s grainy voice makes the song work, conveying urgency, hope, and conviction.

“Lights Get Low” merges tangs of Americana and pop-punk into an unprocessed edgy tune. Imagine Thin Lizzy covering Rick Springfield’s “Jessie’s Girl,” and you’ll know what it sounds like.

The piano and cello on “Lovely Lad” give the song touches of warm nostalgia.

You Can’t Tell Me I’m Not What I Used To Be is Massy Ferguson’s best and most focused album so far — meaning it’s both charismatic and first-class.

Massy Ferguson


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