Album Review- Zach Bryan - The Great American Bar Scene

Zach Bryan has put together a career like few others. Like practically everyone, I first noticed him on his third album 2022s American Hearbreak, his major label breakthrough after two self released recordings. 

The singles were practically inescapable- simultaneously getting play on Country, Pop and Americana radio. I had mixed feelings about American Heartbreak but it most likely was the two hour run time (and 34 songs). Even the best music group to ever do it struggled it when they attempted a triple album. If the Clash and Prince resorted to filler, undoubtedly Bryan did too. (After I wrote this, I read the Allmusic review which sounds about the same as mine. I guess there’s only so many triple albums. Site users do seem to rate Heartbreak much higher than me? 2023s self titled follow up would prove whether Bryan had it or not. 

In the course of 15 months, he went from unknown to one of the most buzzed artists in music. He had a massive hit single “I Remember Everything” the first song to simultaneously hold the # 1 spot on the Hot 100, the country chart and the alternative chart. Musically, it was a pretty great balancing act of being popular with the alt Country Crowd and country radio, in a way that few ever did, and even those who come to mind like Steve Earle or Jason Isbell never did quite conquer the charts like Bryan did Bryan was never going to sit still for long. He followed the album with a surprise five song EP. It contained two superstar collaborators (Noah Kahan, Bon Iver) and one of his best songs to date “9 Ball”. He should be tapped out for ideas but like the best artists in their creative peak, he keeps churning. The Great American Bar Scene is only an hour long but brings 19 songs and poems. 

 Modern pop country has a lot of 1970s Rock influences and one of those threads is The Boss (who was the topic of Eric Church’s 2012 #1 country song “Springsteen”). Bruce seems like the most obvious influence on Bar Scene, whether it was overtly through listening to Nebraska itself or as carried on by Earle and likely Bryan influences like Whitey Morgan, Drivin N Cryin or the Turnpike Troubadours, the literate lyrics here are part of that lineage. Interestingly, Bryan maintains that tightrope if intentional or not. “Pink Skies” (backed by North Carolina folk duo Watchhouse) is already a monster country hit. 

Though he would likely hate the comparison, Bryan reminds me a lot of Johnny Cash insomuch he isn’t trying to be anything specific. He seems comfortable in big arena crowds but he has been particularly critical of the record industry. He has no interest in politics despite being the kind of artist people would want to “choose sides”. It’s the kind of unicorn musician who doesn’t pick and choose his audience in a way that only the elder class of musicians like Johnny, Willie and Dolly could get away with. And maybe he won’t be able to get away with it forever, but for the time being, it’s working. Working man narrative is his strength and he leans into it with a “State Trooper” reference in the title track and “Oak Island” sounding like a spin on “Atlantic City”. If that isn’t enough, there’s another star studded guest list with artists like John Moreland and John Mayer and sure enough Bruce himself on “Sandpaper” The Springsteen track like much of the second half of the album isn’t a particularly standout (though it does have a great Born in the USA vibe). Which isn’t to say it isn’t good, but some of the “singles” are so top shelf. The Mayer duet likewise is part of that lesser half- not an essential Bryan track though both make for interesting additions to the whole here. 

 The Great American Bar Scene is a strong next chapter in the Zach Bryan story. While country music trends will eventually swing back, Bryan has set himself up for what looks like a fine career 2024 - Warner