Mickelson’s latest album, If You Can’t Be Right, Be Loud., is a striking testament to his evolution as a songwriter and musician. Rooted in Americana yet infused with post-punk edge and social commentary, the album is both a personal confessional and a wider reflection on the world’s unrest. It’s a record that wears its influences proudly, channeling the biting wit of Elvis Costello, the melodic sophistication of Bowie, and the raw honesty of Steve Earle, all while forging its own path.
Opening with “Amplify,” the album immediately sets the stage for an unflinching look at political division. The title, a call to raise one’s voice in turbulent times, resonates throughout the track’s propulsive rhythms and sharp lyricism. It’s a fiery start, but Mickelson balances intensity with introspection. Songs like “Glowstick” dive into mental health struggles with an unvarnished poignancy, while “Two Flat Tires” offers a stark yet empathetic portrait of addiction.
What makes If You Can’t Be Right, Be Loud. such a compelling listen is its balance of the serious and the satirical. Tracks like “Small Town Scandal” inject wry humor into suburban melodrama, while “Blue Is The Warmest Color” takes a playful jab at privilege.
A standout collaboration with Colin Moulding of XTC on “Only Grey Matter Boiling In My Head” and “Blue Is The Warmest Color” further enriches the album’s sonic palette. The fusion of Mickelson’s storytelling with Moulding’s bass work adds depth and texture, elevating the project. Self-produced and performed largely by Mickelson himself, this album stands as a testament to his creative autonomy.
Bold, defiant, and deeply human, If You Can’t Be Right, Be Loud. cements Mickelson as one of today’s most vital independent voices.
