Noah Kahan is a storyteller. His records aren’t just individual songs. Each one is a piece of a larger narrative — an indie-folktale about childhood, family, grief, sobriety, love, anger and everything in between.
His fourth studio album, “The Great Divide,” added new perspectives to his ongoing story. The record was released on April 24 through Mercury Records with 17 songs, until he announced “The Last of the Bugs,” four additional tracks serving as the album’s encore.
There’s two ways to listen to this album: in the background— maybe while getting work done at a coffee shop, its cohesive folk sound humming through a pair of headphones, or with full attention, blasting on a vinyl record at home, emphasizing its emotional story told through raw lyrics and crooning vocals.
With strong production and lyrics, “The Great Divide” is bound to move any listener. Kahan contributed to every step of the creative process— not only as a vocalist, but also as a writer, instrumentalist (guitar, banjo, mandolin and piano) and co-producer. He worked alongside Gabe Simon and Aaron Dessner, known for his work with Taylor Swift, particularly on “Folklore”.
The result is an authentic record that makes him stand out as a well-rounded artist.
While many artists take advantage of a summer rollout to release a fun, pop, radio-ready hit, Kahan prepared fans differently.“2 weeks til ur sad I do not care about the weather you will be sad this summer” he wrote on X prior to the album’s release.
Although Kahan’s evolution from one record to the next isn’t very noticeable on the surface, he’s gradually leaned more into folk from album to album, the growth in his artistry is deeply personal.
It’s not experimental, and it won’t sound unrecognizable next to his debut record, “Busyhead.” But pressing play on “The Great Divide” feels like returning home after taking some time to reflect, learn and grow.
The title track, “The Great Divide,” along with “Porch Light,” paved the way as the album’s promotional singles. After a few years without a new project from Kahan, anticipation for this release has ran high. The two songs fit seamlessly into his discography.
Opening track, “End of August” was quick to show that growth. “And I thought getting older meant knowing it’s too late to try/ And I tried getting sober/ I swear I did better this time” sets the tone for the album, with the help of a high-octave, gentle piano that sounds like it’s being played in an empty living room before amplifying into uplifting harmonies and an empowering message.
“Haircut,” “Dashboard,” “Porch Light,” “Deny, Deny, Deny” and “All Them Horses” are the album standouts. They’re the songs where Kahan truly nailed everything: storytelling and imagetic lyricism, a tune that gets stuck in your head and is contagious to the next person, a folktale, a production. While the entire album is worth a listen, it’s these five that hold it together.
“At least I got soul still/ Even if I’m in a bad place,” a lyric from “Haircut,” feels like a trailer for the album in a single line. One of Kahan’s greatest strengths is finding inspiration in hardships, making his music honest, relatable and human — exactly what his fanbase seeks for comfort.
Many view “Dashboard” as more of a callout than a comfort, however, as Kahan blames a loved one for leaving. Although laced with resentment, it still comes from a place of love. Just when the song seems to end, an instrumental break begins – a cherry on top that gives an already perfect song that signature Noah Kahan touch.
A prominent electric guitar and a catchy, repetitive hook give “Deny, Deny, Deny” a country-rock edge, feeling more like Zach Bryan than Noah Kahan at first listen. The slight pivot provides a welcomed variation, especially as some songs can begin to blend toegther.
Although the intent to grow is present from the first song, the entire album simmers in these revelations until the true epiphany arrives near the end with “All Them Horses.” This song marks a turning point as Kahan develops a more positive outlook on the grievances he explored throughout the album.
He sings, “Some things live forever even when they die” his voice transcends into a falsetto as he recognizes that he feels like he’s on a high— or maybe he just understands everything better now.
“Headed North” is also worth mentioning, taking listeners outside of the studio for a stripped ambience that feels like sitting by a campfire alongside the crickets and grasshoppers chirping in the background.
The atmospheric noise ties directly into the song’s theme, as Kahan yearns for a lost lover and a simpler life away from chaos, perfection and, more specifically, Cybertrucks, which he humorously complains about.
The slight cracks in his voice and scratch strumming of his acoustic guitar remind listeners that the moment is imperfect — and that’s the point.
Before the addition of “The Last of the Bugs” edition, the album totaled one hour and 17 minutes. Kahan put quality in the quantity, and the four new songs deliver even more.
“Lighthouse,” “Staying Still,” “A Few of Your Own” and “Oribiter” join the record on this unexpected version, touching on an aspect of life not previously prominent: romance. They round out his story.
“The Great Divide” feels like a page out of Noah Kahan’s journal. It’s self-aware and apologetic, it’s honest and accountable— it’s human.
It’s some of the most organic and authentic music released this year, as his work always is. The album delivers everything expected and, of course, a little bit more.
Kahan is expected to perform many of these songs on his upcoming tour next month. Until then, fans can grab a box of tissues, sit around a campfire and cherish— and complain about— life as they listen.