This post was updated April 26 at 8:31 p.m.
Noah Kahan has cemented himself as one of the greats.
The Grammy-nominated folk-pop artist delivered his highly anticipated fourth studio album, “The Great Divide,” on Friday. The release came nearly four years after Kahan’s last record, “Stick Season,” catapulted him into the mainstream with massive commercial success. Arguably one of the few perfect albums of the decade, “Stick Season” inadvertently set a high bar for what would follow – but “The Great Divide” proves Kahan hasn’t run out of steam. The project is a sizable body of work, admittedly leaving room for misses but also providing him the necessary space to grow into his most developed self, lyrically and sonically.
In opening track “End of August,” the first sounds to grace listeners’ ears are the chirps of crickets. Tied for the longest song on the record, the piece is a slow burn but a highly effective introduction to the world Kahan is crafting. The musician’s relationship with his hometown of Strafford, Vermont, has been a recurring theme in his discography, and he establishes it as the throughline of “The Great Divide” by reciting its ZIP code over the track’s delicate piano. It is one of six songs co-produced by the legendary Aaron Dessner, whose impact on the project is subtle but valuable nonetheless.
Things ramp up from there, as Kahan presents three major successes in a row. Both “Doors” and “American Cars” pair dismal lyricism with danceable drums, while the gentler “Downfall” boasts the most rhythmically satisfying verses on the LP. “Downfall” is also particularly notable because it is the first of several songs that seem to be written from the perspective of a discontented family member addressing Kahan and his stardom. Fans would likely agree this isn’t a far-fetched interpretation following last week’s release of the Netflix documentary, “Noah Kahan: Out of Body,” which detailed many intimate aspects of the artist’s fame and family life.
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The lyrics that emerge from this continuous theme are among the best of the album, such as the line “Spare us all the pity, love, save it for the microphone” in “Haircut,” or “They all say you’re a light, all I see is the shadow” in “Willing and Able.” But nowhere is this perspective better explored than in “Porch Light,” the album’s second single. Opening with the line, “I would ask you how you’ve been, it’s all over the internet,” Kahan displays empathy while reflecting on the pain he has brought his family. The falsetto he extends for its banjo-backed chorus easily places the song among the project’s three strongest tracks.
It comes as no surprise that “The Great Divide,” which is both the record’s namesake and its lead single, is in the top tier. First performed live two years prior to its official release, the song is a compelling contender for Kahan’s best to date. Driven by heavy guitar and a dash of queer subtext, the track addresses an old friend who was burdened by religious guilt during their childhood. Its gut-wrenching lyrics are heightened by intense delivery and a rock-ish influence that Kahan hasn’t frequently explored but should certainly consider revisiting.
Generally, and perhaps controversially, “The Great Divide” is at its strongest when it keeps the “pop” in “folk-pop.” With Kahan’s talent, there isn’t a single song on the album that falters lyrically – thus, second-half tracks such as “Dashboard” and “Deny Deny Deny” naturally rise in ranking based on catchiness alone. For others, such as “Paid Time Off” and “Headed North,” it isn’t pace that’s the problem but production. In the case of the latter, its sound is so raw that it doesn’t even seem to fit within the project, even if its Cybertruck critique is much appreciated.
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Nonetheless, after these ebbs and flows, “The Great Divide” concludes with another immaculate trio in succession. “Spoiled” opens with the moody, sweeping type of instrumental that one might hear in a “Twilight” film, while “All Them Horses” has a specific sadness that brings a slight nostalgia for “Stick Season.”
It is the final track, “Dan,” however, that ties the record with a perfect bow. The song about Kahan’s longtime best friend somehow sounds just like a Vermont childhood, even for a listener who has never experienced one. Its vulnerable lyrics recall moments first discussed in Kahan’s debut album, “Busyhead,” now almost seven years old. The closer is a beautiful reminder of everything that has stayed the same within him and an equally beautiful indicator of everything that is entirely different.
Revolving around a town with a population just over 1,000, “The Great Divide” could objectively be considered a highly specific album. Yet the power of Kahan’s pen allows it to transcend those seemingly strict parameters and resonate with millions of listeners: This record is just as much about the ex you aren’t over as it is about Kahan’s grappling with celebrity identity. If that doesn’t feel obvious yet, it will become glaringly clear when its accompanying tour brings these songs to stadiums this summer. The album excels in its confirmation of something that most fans haven’t doubted: Kahan’s voice continues to be essential to his genre, and his authenticity is broadly felt.
So, really, “great” doesn’t begin to cover it.
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