Home Features Matt Matasci December 18th, 2018 - 10:00 AM

Photo: TBC

2018 was supposed the be the year that the world gifted us with great protest music in reaction to the controversial election of Donald J. Trump to the office of President of the United States. While it’s too early to tell for sure, it appears that the year has come and gone without a truly great protest record. However, we have been blessed with yet another year of incredible music, one which has proven that the ability to create inspiring sounds is just a few clicks away on your computer, when anyone can call themselves a musician, and the world is better off because of this. This all-access pass to musicianship has lead to greater diversity of music (and musicians) available for consumers to well, consume, ultimately a good thing when we sit down with the task of creating a list of the 50 best albums of the year. Seriously, 2018 was an amazing year for music and the next 50 artists – and even beyond that – that didn’t make our list also put out excellent records that won’t be soon forgotten.

Despite lesser emphasis being placed on the LP than the single or even EP in 2018, there are several full-length albums that stood above the fray. It’s one thing to create a blowout single; its quite another to maintain that consistency over the course of 10-15 songs. Our best albums of 2018 include conceptual undertakings as well as those which serve as more of a compilation full of can’t-miss hits. No matter the initial goal of the album, here are the 50 best albums of 2018.

50. St. Paul & The Broken Bones – Young Sick Camellia

The old-school soul band from The States find their disco-groove in this surprising release. – Ally Tatosian

49. Earthless – Black Heaven

A modern psychedelic rock masterpiece that sounds like it could have come straight from the ’70s. – Caitlin Wills

48. Ariana Grande – Sweetener

Sweetener is Ariana Grande’s strongest project to date: a perfectly packaged product of pop, with Grande’s talent at the forefront. – Adrianna Fujii

47. Joan As Police Woman – Damned Devotion

Joan Wassner further hones her pop songwriting chops as a solo artist with a diverse collection of earworms. – Matt Matasci

46. Speedy Ortiz – Twerp Verse

Twerp Verse packs a punch filled with catchy hooks that’ll grab the listener’s attention right off the bat. – Ilana Tel-Oren

45. Black Moth Super Rainbow – Panic Blooms

Lush, yet distorted, vocals and elegant lo-fi production creates a trippy summer vibe that you never want to end. – Francisco Martinez

44. Fucked Up – Dose Your Dreams

Fucked Up returned from a hiatus to release what’s simultaneously their most experimental and accessible album yet, Dose Your Dreams. – Stephanie Sosa

43. Chvrches – Love Is Dead

The synth-pop band changes some of their previous styles while delivering a killer album. – Ally Tatosian

42. Andrew W.K. – You’re Not Alone

Easily the most upbeat album of 2018, Andrew W.K. sings of positivity and not giving up on life. – Caitlin Wills

41. Belly – Dove

Dove picks up right where Belly left off in the ’90s, with songs that are sure to re-capture fans. – Ilana Tel-Oren

40. Nine Inch Nails – Bad Witch

Nine Inch Nails proves yet again that they are the face of industrial rock by creating an album that perfectly balances experimental tendencies with ear splitting volume. The industrial scene owes so much to NIN, and on Bad Witch, it’s easy to see why the genre feels so empty without them. – Drew Pitt

39. Pusha T – Daytona

As a standout from Kanye’s Wyoming Series, Daytona shows Pusha at his strongest since Clipse. Tracks like “Hard Piano” and “Santeria” carry Pusha’s bravado, while vocalizing his anxieties regarding fame. – Aaron Grech

38. The Breeders – All Nerve

The idea of a reunion carries a lot of high hopes, but luckily the Breeders didn’t buckle under the pressure. On their first album in a decade and their first in 25 years with the lineup on Last Splash, The Breeders take their time to build up a curiosity and vulnerability on All Nerve. – Adrianna Fujii

37. Spiritualized – And Nothing Hurt

And Nothing Hurt is nostalgic and expansive, as singer Jason Pierce draws lyrics from the harsh realities of life and the struggles of adulthood while painting a beautiful landscape of sound. – Ilana Tel-Oren

36. A Perfect Circle – Eat The Elephant

The band’s first album in 14 years, it’s a perfect reunion album, complete with nostalgic lyrics and references to the current state of the world, showing the band’s place in both eras. – Caitlin Wills

35. Meat Beat Manifesto – Impossible Star

A wildly all over the place album through and through, Impossible Star’s groovy rhythms intermingled with discordant production serves as a fine return after a decade without making a record. – Francisco Martinez

34. Between the Buried and Me – Automata I + II

With the decision to split Automata, Between the Buried and Me created the ultimate anticipation for fans. Having to wait four months ending with “Blot” on the first album and introduced to the second half with “The Proverbial Bellow,” shows they know how to taunt and deliver. – Erin Winans

33. Orbital – Monsters Exist

On Monsters Exist, Orbital takes listeners through a techno hall of wonders. Around every corner lurks a wonderfully dark and sonically complex surprise that is sure to confound and terrify at every opportunity. – Drew Pitt

32. iceage – Beyondless

On their dazzling fourth album, Danish post-punk band Iceage refine an idiosyncratic approach to their genre. Beyondless has a sense of grandiosity that is uncommon in punk music. – Adam Davis

31. I’m With Her – See You Around

I’m With Her released their first full-length album of simple tracks and beautiful vocals. See You Around consisted of three solo artists coming together in perfect harmony. – Stephanie Sosa

30. Thou – Magus

As a fan expressed on Thou’s “The Changeling Prince” music video, which is the fourth track in Magus, 2018 has been “The summer of Thou”. With Magus being the full-length album released this year, it shows that a slow tempo can mix well with screaming vocals to create a collection that keeps listeners on the edge. – Erin Winans

29. Wye Oak – The Louder I Call, The Faster It Runs

Wye Oak has returned with a new album, once again folding into the arms of synth dream-pop with The Louder I Call, The Faster It Runs. The album contains tracks ranging from calm and soft to loud and powerful, carefully constructed so as to not be jarring. – Stephanie Sosa

28. Grouper – Grid of Points

Grouper returns after four years with her most brief, skeletal and personal album. Despite its brevity, Grid of Points manages to feel like a complete experience. Each track is stripped back, composing of a simple piano and vocal overlays, creating some of the most hauntingly beautiful music she has composed. – Aaron Grech

27. Pale Waves – My Mind Makes Noises

While their look is if Edward Scissorhands walked into an Urban Outfitters, the My Mind Makes Noises album put out by Manchester’s Pale Waves is undeniable poppy fun while living up to the goth aesthetic. As mxdwn’s Jake McManus summed up in his review of the album, Pale Waves encapsulates “universal angst expressed as broadly and as simplistic as possible.” For those that it resonates with, My Mind Makes Noises has garnered a rampant fandom, in spite of some dismissals – but if a band can get such a passionate reaction on either side, it’s worth it to take a listen and find out for yourself. – Allison McLellan

26. The Internet – Hive Mind

Somewhere in the space between jazz and hip-hop lies The Internet. Following 2015’s highly acclaimed Ego Death, the members of The Internet took time to focus on individual solo projects, and Hive Mind is proof that this time apart was worth it. The group is back stronger than ever with a lush, clean and polished sound that still has an infectious, raw energy to it. Despite the group being home to phenomenal individual talents, including Syd, Matt Martians and Steve Lacy, The Internet is still somehow greater than the sum of its parts. – Adrianna Fujii

25. Hookworms – Microshift

British band Hookworms have established themselves as a prominent leader in an ever-crowded genre. Building upon their promising debut on Microshift, the band further explore the world of psych-rock with stand outs like the titular opening track and “Ullswater,” which evolves the sound of Krautrock to a further realm. While this may be the last album by the band after their sudden dissolution, it’s a solid entry into the world of British post-punk that stands tall amongst its influences like Wire and Gang of Four.

24. Melody’s Echo Chamber – Bon Voyage

Melody Prochet’s project delves into the experimental realms of psych-pop in Bon Voyage, the highly anticipated second album from Melody’s Echo Chamber. Epic songs like “Desert Horse” transport the listener to a space-age desert where everything goes, while “Quand Les Larmes D’un Ange Font Danser La Neige” showcase Prochet’s ethereal, breathy vocals. – Ilana Tel-Oren

23. Courtney Barnett – Tell Me How You Really Feel

Tell Me How You Really Feel is in many ways a return to everything that has made Courtney Barnett one of the most revered artists in indie music: emotive guitar riffs, matter-of-fact lyricism and Barnett’s patently distinct vocals. Yet Barnett’s approach to songwriting is distinctly different this time around, as she often abandons her signature witty lines for simpler ones that evoke simple yet power imagery. Barnett tackles a variety of themes throughout, including love, self-image and social maladies. It’s the latter where Barnett leaves the most lasting impact, particularly in “Nameless, Faceless.” The song pulses with honest rage, as Barnett maligns the fact that she can’t walk through a park at night without holding her key between her fingers. – John Coakley

22. boygenius – boygenius EP

No one is talking about this record, and that might be the biggest disappointment of the year. Imagine if Bon Iver, Andy Shauf and James Blake made an album together. That’s essentially what boygenius is, the stellar combination of Phoebe Bridgers, Lucy Dacus and Julien Baker. boygenius leads to some of the most tender, soul-wrenching music this year, and everyone should be talking about it. – Drew Pitt

21. Noname – Room 25

Building off her debut album, Room 25 proves that Noname still has bars. This personal look into the rapper’s story; her tale of heartbreak, her move to LA and newfound “indie-fame” are backed by excellent jazz instrumentals. If you aren’t convinced, at least check it out for the hilarious one-liners. – Aaron Grech

20. Julia Holter – Aviary

Julia Holter’s fifth full-length album, Aviary takes listeners on an epic 90-minute journey of pure sonically artful charm. Drawn from a line in a book which references an aviary filled with shrieking birds, the album evokes feelings of fear and euphoria at the same time, utilizing experimental sounds from psych to medieval. – Ilana Tel-Oren

19. LUMP – LUMP

In their first collaboration, Laura Marling and Mike Lindsay create the bizarrely wonderful self-titled LUMP. A slow, deliberate pacing of Marling’s heavenly vocals over the desolate digital soundscape created by Lindsay makes for songs like “May I Be the Light” that somehow wouldn’t feel out of place in a church or a spaceship. Most lyrics critique conformity in modern society, shown most clearly in the melodic single “Curse of the Contemporary,” where Marling croons “Don’t read into much to all the signs and turns / Keep your wits about you with your mind freedom.” Created by two so very different artists on the same wavelength, LUMP is a cohesive conceptual album. – Allison McLellan

18. Anna Calvi – Hunter

Anna Calvi’s third LP, Hunter, is packed to the brim with complex guitar work, emotive vocals and challenging subject matter. Calvi uses Hunter as a platform to challenge societal understandings of gender. In the opener, “As a Man,” Calvi sings, “If I was a man in all but my body / Oh would I now understand you completely.” Later in the album Calvi, who recently stated in an interview that she has been exploring her own masculinity, sings repeatedly: “Don’t beat the girl out of my boy.” Calvi truly flexes her guitar skills on “Indies or Paradise,” with an electric, face-melting solo calling upon Tom Morello and the ghost of Jimi Hendrix. She follows this up with a beautifully tender progression on “Swimming Pool,” showcasing the versatility she brings to the instrument. But it’s Calvi’s vocals that truly steal the show. At once soft and vulnerable and powerfully bellowing, her voice shines throughout Hunter. Some of the album’s best moments come when Calvi will slowly build from little more than a whisper to a triumphant, operatic roar. – John Coakley

17. Sleep – The Sciences

Sleep’s return was honestly one of the greatest things to happen this year. Despite the fact that The Sciences is coming in at #17, the perfect-for-the-smoke-sesh soundtrack is still chart-topping in many, many ways. Having a new Sleep album after 11 years was already a delight but to go with that, The Sciences depicts Sleep maturing well with their sound. Though they very much stuck to what they do best, the results end up being more refreshing and comforting than banal and boring. Cisneros, Pike and Roeder certainly know what stoner doom is all about. They’ve got it down to a… dare I say…. science. – Cervante Pope

16. Skeletonwitch – Devouring Radiant Light

With “Fen of Shadows” being a softer beginning than past albums – perhaps in part due to the semi-acrimonious exit of their former lead singer between albums – the song shows that Devouring Radiant Light is a statement that the band tried to and succeeded in expressing. Each element deployed such as vocals, guitars and drums is strategic and deliberate. While the album does experiment a lot and is pretty distinct from their prior music, die-hard fans and newly turned listeners learn to dig the direction Skeletonwitch went. From the soft open to the black metal flares throughout, people won’t be able to stop listening. – Erin Winans

15. John Kaada – Closing Statements

Scandinavia offers a rich tapestry of music from Abba-like pop to the blackest of metal. John Kaada doesn’t subscribe to either, but his music is as moving as it is chilling. His 2018 record Closing Statements is a perfect blend of icy, Norwegian avant-garde, coupled with ornate orchestration inviting the listener to discuss the last words of the dying. The haunting piano of “Everything is an Illusion” among others evoke a tangible quality to the music, as if Kaada writes in four dimensions, and you are in the room with those that are taking their last breath. – Brian Furman

14. First Aid Kit – Ruins

In their fourth studio album Ruins, First Aid Kit draw from all corners of Americana, uniting the diverse sounds that inspire them with taut, gripping harmonies, lyrical openheartedness and sophistication. The result is an irresistible collection of songs that touch on everything from love to disappointment and disillusionment. “It’s A Shame” rumbles with pulsating ‘50s drums, and the rueful “Fireworks” evokes classic heartache balladry. “Hem of Her Dress” uses a melody seemingly derived from a sailor’s shanty to fashion an explosive, pure-pop choral climax. The lullaby-like “To Live a Life” has a cinematic aura of magic and soothing finality that belies its place mid-record, but it still lands as one of the standout tracks. – Ilana Tel-Oren

13. Janelle Monae – Dirty Computer

Part art-project, part-political statement and all pop album, Dirty Computer is truly a cyborg. Tracks such as “I Like That,” feel sensual, while calling out the “wack ass fuckboys everywhere (from the trap house to the White House) who make the lives of little brown girls so damn hard” (in her words). The album juggles a variety of genres, throwing in rock, electronic and soul influences that create a unique pop experience. In many ways Monae is a cyborg, embodying the rock star, the activist, the artist and most importantly the queer woman of color who dropped an instant classic. – Aaron Grech

12. Yob – Our Raw Heart

It’s a terrible thing to deal with a tragedy, and it’s something only the toughest of us can make it through. Mike Scheidt of Oregon doom metal outfit Yob knows all about this. Just prior to the release of Our Raw Heart, Scheidt was dealing with a bad bout of diverticulitis that, while incredibly unfortunate to deal with, informed their eighth album in a triumphant way only Yob could fully epitomize. Reactive without being overbearing and strong without being too blunt, Our Raw Heart saw Yob doing the doom they do best, but with just a bit of pep in their step that gave the record an extra kick. – Cervante Pope

11. Ministry – Amerikkkant

Industrial saviors, Ministry, roared back from a five-year hiatus with Amerikkkant, a poignant mixture of metal, electronica and a middle finger pointed squarely towards our current Commander-in-Chief. Uncle Al’s pissed, and he drives the point home in the scratch-heavy “Twilight Zone,” “Victims of a Clown” and thrash of “We’re Tired of It”. The political anthem “Antifa”, is reminiscent of the Psalm 69 gem, “New World Order” and makes for what may be the band’s best work since Filth Pig. – Brian Furman

10. Beach House – 7

Over the years, Beach House have become nearly synonymous with “dream pop,” and their seventh full-length album—appropriately titled 7—is no exception. But dreams aren’t all light and airy. On 7, the Baltimore duo have a newfound confidence in themselves and their music; they’ve turned up the intensity and aren’t afraid to bask in the heaviness. “Dark Spring” puts quick-paced, rock instrumentals in the forefront while Victoria Legrand’s vocals are gentler. On the latter half of “Dive,” drums step into the spotlight and envoke a deeper, richer mood. However, Beach House didn’t simply make a darker album than usual. “L’Inconnue” is atmospheric as Legrand’s delicate French and English lyrics are surrounded by tender harmonies. Along with the bold and bright “Lemon Glow,” these are two of Beach House’s most eclectic tracks to date. “Drunk in LA” is ethereal and hypnotic but with a new thickness to its instrumentation, and “Last Ride” fades in on a piano line and out on a wave of distorted guitar to round out the album. 7 hits hard and fast with its warmth but also its psychedelic roughness, creating a delectable balance. Beach House have always been consistent with their sound, but 7 proves they’re still evolving and have no intentions of slowing down. – Adrianna Fujii

9. Poliça and s t a r g a z e – Music for the Long Emergency

While much of this album is won by the sprawling, excellent title track that closes out the album, there’s still much to love that runs through the record as a whole. This strange mish mash of electronic, orchestral, experimental and pop somehow manages to stay the middle course without feeling disjointed or needlessly self indulgent. Expect to be treated to one of the widest arrays of ideas on any single records in recent memory, and certainly the best one to attempt such an ambitious undertaking. – Drew Pitt

8. The Black Queen – Infinite Games

Music, at its best and rawest form, is meant to express and display the artist’s feeling and emotion that gave them the inspiration to create it in the first place. It offers a look inside the mind of a musician and the emotional state they were in, and Infinite Games offers one of the most heartbreaking looks into an artist all year. Greg Puciato’s vocals are that of a somber and defeated man, dealing with an emotional weight that is present throughout every single track. You can hear how much Puciato experienced and the world of hell he’s gone through, making each track on this album an introspective on everything that went awry. The instrumentation on this album is to note as well, creating an ethereal environment that hits the sweet spot for absolute despair. This project is a masterclass in defeat at the hands of love. – Francisco Martinez

7. Emma Ruth Rundle – On Dark Horses

Operating in a genre of metal-influenced folk rock that has suddenly become very busy, Emma Ruth Rundle shows why she is among the best in the category. From her standout single “The Light Song,” which features her partner and hardcore icon Evan Patterson on guest vocals to the excellent “Fever Dreams,” her album On Dark Horses makes for one of the most intriguing listens of 2018. Like her peers in Chelsea Wolfe and Myrkur, Rundle is able to blend the bleakness of heavy metal with beautiful folk music for a sound that’s altogether unique. – Matt Matasci

6. Robyn – Honey

With the release of her first album since 2010’s Body Talk, Swedish singer Robyn makes an impact in the slightly different meditative tone of Honey. Written in the wake of a breakup and the death of a close friend, Honey combines what Robyn described as, “a sensuality and a softness that I don’t think I was able to use in the same way before.” The lyrics are straightforward heartbreak, from “Cause I’m missing you” in the album’s opening “Missing U,” to the title track’s refrain of “Come get your honey.” Although the songs depict sadness and loss, the pulsing bass and synth allow you to dance through it. While she works to evolve past the verse-chorus-verse formula of pop, Robyn retains her crown for crying on the dance floor. – Allison McLellan

5. Richard Russell – Everything Is Recorded

While this project is technically Russell’s debut album, he’s an industry veteran with almost 30 years of experience in the industry. As the head of XL Recordings, he has launched Adele’s career and put out works by Frank Ocean, Thom Yorke, Jamie XX and Damon Albarn. Yet he sidelines many of the big names on this album, utilizing rising stars such as Sampha, Kamasi Washington, Ibeyi and the debut of Ghostface Killah’s son Infinite. This works to the album’s benefit however, blending Russell’s love of old school house, funk, reggae and soul, with this new generation of artists. He pairs off Sampha with Curtis Mayfield, reggae legend Keith Hudson with UK rapper Giggs and Infinite with Peter Gabriel, creating an eclectic mix that blurs genre lines. “Wet Looking Road,” with Giggs is a hard hitting track made for the club, while Infinite shows outstanding vocal chops on “Bloodshot Red Eyes” and “Be My Friend.” The self-titled closer is another highlight, creating a spiritual feeling with Sampha’s vocals, along with the choir and string samples. Despite paying tribute to older musicians the album doesn’t revel in nostalgia, it is rather a testament to what XL Recordings can bring in the future. – Aaron Grech

4. Failure – In The Future Your Body Will Be The Furthest Thing From Your Mind

Failure is one of those bands that was swept into the Marianas Trench of “alternative” slog in the mid-’90s. Little did they know at the time that they would be one of the most influential bands to come out of that period. It has been refreshing to see the trio have such a positive resurgence since they reformed in 2015 for the beautiful The Heart is a Monster record. But they upped the ante in 2018 with what could arguably be their most ambient and brooding offering yet. The first track “Dark Speed” skips along on a daisy-filled beat with an ornery guitar rumbling underneath, popping heads off. “Found a Way” rides a Texas boogie beat into a barrage of distortion and sing-along chorus. “Apocalypse Blooms” may be the most radio friendly song that Failure has released since…. maybe ever. The minimalist, reverb-heavy guitar and barn-stomping beats make In the Future Your Body Will be the Furthest Thing From Your Mind one of the most alluring records of 2018. – Brian Furman

3. Ghost – Prequelle

Ghost have truly become the heir apparent for the position of flag-waving, most successful representative of heavy metal in the whole world. Metal as a whole has suffered in recent years not having a champion that can raise the genre as a whole. The ‘80s had Iron Maiden, the ‘90s and beyond had Metallica, Megadeth and Slayer. The insular nature of the genre has created no new stars since that could have just enough widespread appeal to create gigantic audiences that could fill arenas or cross boundaries of fickle taste. For whatever reason, though excellent as the genre has been these last ten years, the gruff/dry-lung vocal approach of the recent generation of bands just hasn’t been enough to capture the public’s imagination beyond diehard metal fans. Tobias Forge’s new era metal band Ghost (his character in the band has evolved from the Papa Emeritus into a new character called Cardinal Copia) just might have achieved this killer blend of credible crunch and pop sensibility with their latest album Prequelle that can carry the genre back from the shadows into the mainstream. Several songs on this record brim with unforgettable rock authority and fun. “Rats,” “See the Light,” “Pro Memoria” and not the least of which, the incredible “Dance Macabre” are all destined to songs people love for decades to come, if not bona fide hit singles. – Raymond Flotat

2. Neko Case – Hell-On

Each track on Neko Case’s Hell-On is its own complex entity. Pick any song at random and there will be enough intricacies, twists and turns to happily fill a pair of ears for a lifetime. Once finished, you’ll be delighted to see there are 11 more. “Hell-On” kicks off the album with an eerie, thought-provoking tune as Case croons “God is not a contract or a guy / God is an unspecified tide.” Just when you think you know what the song has to say, pockets of upbeat pop jump in as Case cheerfully sings “Nothing quite so poison as a promise” repeatedly. Her energy can’t be tamed, and the same can be said of the whole album. Case shows off her ability to pump out infectious pop tunes (“Bad Luck” and “Last Lion of Albion”) as well as her expert storytelling abilities (“My Uncle’s Navy”). She stars with Mark Lanegan on the haunting seven-minute duet “Curse of the I-5 Corridor,” a pillar of strength on an already strong album. On another duet, Case is joined by Eric Bachmann on the tender folk ballad “Sleep All Summer.” Her vulnerability is seen on “Winnie,” and her alt-country talent shines on “Pitch or Honey.” Hell-On has rock, alt-country and pop-infused tracks. It has witty stories and dark observations of humanity. It tackles sadism, female empowerment, religion and love. It’s sad yet hopeful, angry yet uplifting. Her sassy lyrics aren’t all autobiographical, but they’re still personal. Somehow, Case does all of this and more without doing too much. – Adrianna Fujii

1. Various Artists – Black Panther Soundtrack

Both Kendrick Lamar and the Marvel franchise have imposed their wills upon their respective fields. With Marvel’s box office and critical triumphs and Kendrick’s continual ascension into rap royalty, it is easy to think of this project as just a footnote in each party’s career. Once some deeper digging is done, it’s clear to the listener that this is not the case.

Both the film and the album showcase strong themes of fear, individualism and empowerment. The ragged flow, composed of dissonant tones, displayed on the album’s opener seems to flaunt all of these themes at once. Kendrick showcases his off-kilter rhyming patterns over a familiar piano centric beat. The haunting pitches in the instrumental contrast Kendrick’s confident portrayal of royalty. The contrast soon begins to fade as the beat switches to something even more sinister. The dark guitar laden beat is met with a self-deprecating performance by Kendrick. Proclaiming himself king of remorse rather than king of his country. This complexity and duality is showcased not only on the rest of the track, but the rest of the album as well.

On this project, Kendrick curates an album that is equal parts celebratory and introspective. The bouncy and catchy track “All the Stars” features a grandiose vocal performance from SZA that is paired with rich strings for a massive effect. “Opps” features an energetic house beat. This frantic energy is met with an urgent flow from Vince Staples. Kendrick on the other end provides balance with a wandering and behind the beat flow. This balancing act is something Kendrick pulls off very often on this project. The versatility of this cast is impressive, but his presence remains the beating heart of these songs. And despite the project’s accessible sound, Kendrick yet again manages to put a whole lot of heart into his music. – Griffin Doyle

Photo Credit: Sharon Alagna