Justin Townes Earle’s sixth album, Single Mothers, revels in its intimate honesty.  It is difficult to classify the album under one label, but if it must be done, it’s something along the lines of bluesy folk-rock with apparent country roots (Earle is from Nashville, Tennessee after all).  

Earle draws inspiration from his past throughout the album, perhaps most notably in the titular track, “Single Mothers.”  His father abandoned him when he was two and his resentment, laced with bitter acceptance, is conveyed through lines like, “Absent father / Never offers / Even a dollar / He doesn’t seem to be bothered.”  

The album is mostly concerned with weaving a story, and a lot of it is rather sad.  However, there are some pleasant digressions within Single Mothers that deepen the story rather than detract from it.  “My Baby Drives,” for example, is decidedly more upbeat and definitely more lighthearted, than most other tracks on the album, playing like a mellower version of a 60s pop rock anthem. The tune is almost Beatles-esque in its melody with modernized, understated vocals and a wonderfully tight bassline.

Single Mothers is refreshing in how it utilizes modern techniques to produce smoother sounding music while still embracing the simplicity that is all but forgotten in today’s mainstream music.  The instrumentation serves first and foremost to support Earle’s vocals.  This is shown most clearly in “White Gardenias,” in which the instruments humming in the background seem to respond to Earle’s lamentations. 

The bareness of the music highlights the honesty present in Earle’s lyrics.  Less is more sometimes, and this is evident in the clarity and emotional resonance of Single Mothers.  Where other artists add layers to their music to enhance it, Earle strips them away.  This choice works to great effect, allowing the ephasis to remain on Earle’s stories and characters as they’re introduced through the lyrics. 

Vocally, Earle alternates between a heartbroken croon and an inhibited grumble.  He demonstrates an impressive amount of restraint; he refrains often at the climax of a song from belting, as is typically expected.  Instead, he surprises by breaking off suddenly or choosing to hold out the note without deviation.  

The control present in the vocals lends to the overall image that the album in its entirety means to purvey: that of a man shaken by the slings and arrows of life in his search for affection.  He prevents himself from emoting.  He abruptly detaches from the listener, afraid that he has said too much.  

However, Earle’s careful restraint stops some songs from reaching their full potential.  In “Burning Pictures,” this restriction prohibits Earle from achieving total emotional resolution.  He holds back when he should let go to bring the song (as well as the album, seeing as “Burning Pictures” is the final track) full circle.

Also, the coherency and consistency of the album cause individual songs to seem, in instances, a bit one-note. It’s better to view the work as a whole rather than as a collection of songs.  Earle seeks to tell a gradual, concentrated story, so variation throughout Single Mothers is not to be expected, though at times it may be desired. 

Earle is at his best, at his most sincere, when he’s sharing with his audience things he would rather not know himself.  The album is a brave endeavor with its intimate nature and measured rhythms.  Overall, Single Mothers is an experience worth having, especially for those who enjoy musical storytelling with a deliberate pace and a Southern rock feel.  

Earle will be performing at The Carolina Theatre Saturday, September 13. Single Mothers is currently available for sale.