It’s been 7 years since Nathaniel Rateliff released his last solo album Falling Faster Than You Can Run. A lot has changed since 2013.

Nathaniel Rateliff & The Night Sweats were formed and reached a level of commercial success that eclipsed the work of his former bands, The Wheel and Born in the Flood. The humble hopes of providing beds over floor mats and paying his bandmates had been left as a worry of the past; more ambitious goals were in clear view. A personal favorite of Jimmy Fallon, The Night Sweats were brought onto The Tonight Show to perform “S.O.B.” off of their self-titled first album. The performance formally introduced them to your mom and dad, and just enough of the mainstream to leave financial troubles behind. Keeping this momentum, the band rolled into their second album, Tearing At The Seams which saw similar results as their first in terms of critical and commercial feedback.

While it was clear that a solo album was in the cards for some time now, the emotional makeup of Nathaniel Rateliff’s latest release has certainly changed from its initial conception. Producer Richard Swift, who often referred to Nathaniel as his “lost brother,” long awaited further collaboration on a new album with Rateliff, as he had on Tearing At The Seams. All the while, Rateliff could feel his 11 year relationship with his wife unwinding. By all accounts, And It’s Still Alright began as a way for Rateliff to process the ending of his relationship; though, Richard Swift’s death from complications to alcohol addiction would add a new layer to work through.

Starting the album with the song, “What a Drag” was a savvy way to foreshadow the theme that would remain present as a through-line for the remainder of the record. It’s a song that has a sense of levity and upbeat tempo that serves as a carrier for a somber message: “Ain't it a drag babe, you feeling so sad… I left feeling alone, but you can't undo it baby.” The song eloquently yet casually brings to light the feeling of helplessness when the problems of a relationship hit critical mass and fall beyond repair. It is a fucking drag; within this phrase comes both of the key components of the album, acceptance and loss. The genius of “What a Drag” is in the way that Rateliff avoids the usual cliches of a troubadour who is pining for the relationship he has let die on the vine. Instead, he opts for the more realistic scenario where you look at the pieces of your shattered life, say that sucks, and try your best to move forward.

Following is the titular song, “And It’s Still Alright.” It’s a return to form from the In Memory of Loss days featuring a more acoustic sound. We only glimpsed this stripped down side of Rateliff with The Night Sweats in songs like “Babe I Know,” but it takes center stage for the rest of this album. It is also the most clear representation of the theme, acceptance through loss: “Standing out on the ledge, with no way to get down. You start praying for wings to grow, oh, baby, just let go.” It seems as though the coupling of these two songs to start the album equips the listener to participate in the next phase of the album; there will be painful exploration and reflection that is to follow, and it’s still alright.

Present in each song is a message to his ex-wife, his late friend, or himself reflecting on the ways that he and Swift were similar. The latter is most vivid in “Expecting to Lose'' where he sings about the tendencies for self-sabotage in its many forms. Perhaps the most pernicious being his relationship with alcohol as he sings “You’re a prisoner by day, is that what you choose?” - a line that cuts to the bone of anyone who has fallen to a vice. It appears “Expecting to Lose” is intended as a ‘note to self’ garnered through observations from his relationship with Swift. The song plays as a roadmap filled with pitfalls that he’d like to avoid. Not only does his relationship with Swift provide him the ability to see these traps, but he outlines the tendencies to be our own worst enemies by stating “Lose a limb on a snare you set for yourself” in “Kissing Our Friends.” Having Luke Mossman return from The Night Sweats to play guitar on this album brings another dimension to the music. In my opinion, his talents are best showcased in “Kissing Our Friends” accompanying Rateliffs haunting vocals.

Rateliff sings out “Remember we both still care” - the last lines of “Kissing Our Friends” - and begins the next and final song “Rush On.” Both songs serve as perfect bookends to the two subjects that were given the most attention throughout this album: the ending of a romantic relationship and the loss of a good friend. As sad as it may seem, all that can be done is wish them well. While I can't speak for them, there's no well wishes I would rather hear in this life or the next than the purity of Nathaniel Rateliff lyrics.

It takes little more than a google search to see Nathaniel Rateliff has experienced plenty of tragedy in his life. In processing the pain he was able to make an exceptional album. The stylistic choice of returning to a folk-influenced sound lent itself to the powerful vocals Rateliff can provide. But more impressive still is the perspective gained and shared with his audience. On the other side of pain is peace, and it’s still alright.

To learn more about the artist or to purchase the new album: And It’s Still Alright click here.

If you would like to read about our experience seeing Nathaniel Rateliff & The Night Sweats perform at Red Rocks Amphitheater click here

Finding Acceptance Through Pain: A Review Of And It's Still Alright by Nathaniel Rateliff