Album Review – Juliet McConkey’s “Southern Front”

#510 (Traditional country), and #570.15 (Singer/Songwriter) on the Country DDS.

It’s a thing of beauty how the gentle but powerful musings of Juliet McConkey overwhelm your emotional faculties in disarming waves, awakening feelings often left dormant in the passing of everyday life. The sound of her voice is spellbinding, both through it’s rich and inspiring tones, and how it leaves you stupefied of how it emanates from a woman that is not known more widely from the gifts she possesses.

A few might remember McConkey from her 2020 debut Disappearing Girl, and the song “Hung The Moon” that has yet to be dethroned as the perfect sound profile for a human heart breaking. Chances are though, you’ve probably never heard of Juliet McConkey at all, and only the bored and studious few who stumbled onto this dark and dusty corner of the internet will be clued in now. But as she proves in the moments of her new album Southern Front, her natural talent and thoughtful songwriting are world-class.

Like that first warm breeze and burst of sun that breaks the frost of Winter, Southern Front confers womb-like comfort in a cold and impersonal world. So with such promise behind her music, why isn’t McConkey out there doing the music hustle? Why isn’t she filling up the calendar with live appearances, hiring publicists and pursuing labels to make a big push behind this project, and seeding the internet with endless Tik-Toks to spread the word? It’s all explained in the eight chapters of this album.

For Juliet McConkey—and her partner in music and life, James Steinle—the focus seems on being content with a quiet and simple existence in relative obscurity. This is the philosophy she forwards in the song “Horses Around,” where she sings confidently, “I want to live in a town that doesn’t matter,” forgoing the idea that residing in Austin or Nashville is the first requisite for any country musician.

Originally from Virginia, the intent seems to be to hide from the music industry and the “scene” as opposed to immersing one’s self in it, and instead embrace the simplicity of life, as explained in the song “Quiet Moments.” James Steinle joins Juliet for the song “When I Say I.” Steinle’s career has been just as frustrating to keep up with, bursting with promise and talent, but distinctly underground and obscure in scope.

Southern Front isn’t entirely about pursuing a quiet and simple life. “Drunken Moon” is a tasty little character study set to waltz time. With only eight songs and the singer/songwriter aspect to her music, it was imperative that the production and arrangement for this album rise up to endear these songs to the audience and distinguish them from each other. This was accomplished successfully by taking very simple approaches to some songs, and allowing others to get loud and expressive.

It’s enough to drive one mad that the music that composes the mindless noise to help many Americans suffer through their daily commute ultimately makes it to the arena level, while music such as the stuff McConkey composes here exists in such obscurity, despite the pleading of musical pundits to water it with attention.

But Juliet McConkey has decided that the best way to win the battles and wars of life and music is to not fight them at all. It can leave those who feel compelled to sing the praise of their favorite artists to the rafters a little frustrated, because you know how the power of music can transform lives and perspectives. But the ultimate lesson to heed from Southern Front is to not always lean into the charge, and instead enjoy life for life’s sake, lest it pass you by.

8.3/10

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