In America, there are small towns where the radio catches only two stations – country and sermons. By evening, the sky there becomes boundless, and the road to the next settlement stretches through silence, leaving time and asphalt nearby. Admit it, in such moments music is especially needed – warm, close, one’s own. And it seems to me that Brock Davis writes exactly for such roads. He continues the tradition of American storytelling. He is a singer of stories who found a compromise between a catchy melody and the rich aesthetics of American roots. Brock’s songs are truthful and sincere. “It’s very human to worry that ‘you wouldn’t like me if you knew the truth,’” says Brock. “But my hope is to push beyond that fear, because, in songwriting, the truth has got the juice!”
The musician from Santa Cruz returned to recording after a long pause. Family, children, and ordinary life became a priority instead of touring bars in the Midwest. In recent years, he has released a couple of albums that were received warmer in Europe than at home. The new release Brock Davis “Nothing Lasts Forever” (release date February 27, 2026), continues the line of previous works. The record includes fourteen songs about how everything slips through the fingers, even if you hold tight. Only now, to the conscious reflection, an unexpected biographical twist was added: during mixing, Davis was diagnosed with a tumor. And suddenly, the album, which was conceived as a philosophical reflection on transience, became a projection of real fear of death. The tumor turned out to be benign, but the experience has already been woven into the mood. And now it seems that someone took and underlined everything with a red marker. The producer’s decision to record the band live fully justified itself. Sound engineer Zack Allen caught the exact balance: you can hear that the musicians are in one room, yet the recording doesn’t sound like a bootleg from a bar concert. Nashville session players from the bands of Seger, McGraw, and Stevie Nicks play without showiness -old school, where professionalism doesn’t overshadow sincerity.
The opening “All of You” is a neat miniature in the Americana genre: a warm, sweet song about love for a wife, but built in such a way as to immediately set the tone for the whole album. The track rests on a calm, springy rhythm, the elastic groove of the rhythm section, and a guitar pattern with an emphasis on space. The instruments take the role of a soft frame, and the vocal – the role of a storyteller; it gently lets the listener into its family universe. To fans of smooth melodies and soulful stories, I recommend lingering on the track “Nowhere Near Ready” – Americana in all its beauty: a light ballad about meeting the person at the wrong time. A story of crossroads with a flavor of “what if“: you turned left – you think of the road to the right. A sharp turn to the social theme happens on “I’ll Be Your Alibi”; it stands out from the mood of the first tracks with a sharp rock drive and a story about confronting harassment at work. Davis abandons melodiousness in favor of a sharp, shouted manner – the phrases sound like an accusation, amplifying the protest message of the song.
I consider the title track “Nothing Lasts Forever” a successful one on the album. Melodic guitars, plastic drum sections, and especially Brock’s tremulous vocals. A song about transience and acceptance of change. My personal favorite is “Laughin’ ’Til It Hurts” – a lively nostalgic rock track. The song is attractive in how the author combined the warmth of memories with light irony toward himself. The rhythm section sets the drive: dense bass and drums with a shuffle shade. There are no excesses – everything serves the energy of the music. After a personal story, Davis moves to an event everyone in America knows. “Miracle On The Hudson” tells the story of the emergency plane landing by Captain Sullenberger. Davis keeps the focus on the passengers writing farewell notes to loved ones – “I love you on a postcard, put it in my pocket so it will be found.” The song takes “the right course” thanks to a restrained arrangement.
Another sharp social sketch, the track “One Paycheck Away”: about 60% of Americans living from paycheck to paycheck, one step away from homelessness. The author avoids agitational rhetoric, showing the situation through specific details – an empty refrigerator, a conversation with a child about why new sneakers aren’t possible. It works better than any slogans. “Til The Morning Comes” – about the musician’s aunt who chose the last months with family instead of chemotherapy.
After his own diagnosis, Davis listened to it many times. The piano leads a dialogue with the lyrics, the guitar and strings gently embrace, leaving space for breathing. The voice is warm, I would say broken, with a tremor on key words. A strong piece. The final song “A Daughter” closes the circle of family stories. It promises a “shocking family secret,” but turns out more sad than shocking. However, for an album that is about accepting losses, that’s enough. The ending without drama – elegantly and laconically.
Many good words can be said about the album “Nothing Lasts Forever”, and all of them will be deserved. However, it’s best after reading the review, to listen to it. After all, sometimes all that’s needed is a silent road, an open sky, and Brock Davis in the speakers.
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