Like most, I was introduced to Kasey Chambers through her breakthrough second album Barricades and Brickwalls and the inescapable single of 2001, “Not Pretty Enough.” Fast forward nearly two decades, and Chambers stands atop a mountain of achievements: five number-one albums on the ARIA Albums Chart, 14 ARIA Music Awards (including nine for Best Country Album), an ARIA Hall of Fame induction, and an autobiography for good measure.
If anyone thought Chambers might rest on these laurels, they’d be mistaken. This week, she released both a new book and a new album—within three days of each other. Just Don’t Be a D**khead (Hardie Grant Books) tells her story, from childhood in the Australian outback to stardom and pairs with Backbone, a 15-track album. Designed to be experienced alongside the book, the book features QR codes throughout to link the chapters to songs.
Having not had the opportunity to delve into the book, this review will examine the album as it stands. Though the book will surely dig deeper into the songs, we’ll go track by track and see how it stands on its own.
Track by Track: Backbone
“A New Day Has Come “
The album opens with sweeping country swells, setting the stage for Kasey Chambers’ unmistakable voice to emerge. Her distinct delivery feels like a time machine, an I’m instantly transported back to the early 2000s. If you haven’t kept up with Chambers work, it really feels like reconnecting with an old friend you haven’t seen in a while.
“A New Day Has Come” is really an emotional embrace, offering some warmth and reassurance with every note. While the sound leans more toward Nashville than her Mount Gambier roots, the authenticity in her writing remains undeniable. Chambers doesn’t shy away from vulnerability, weaving an intimacy and introspection into her storytelling.
Throughout the country ballad, Chambers declares her unwavering devotion to an unnamed muse, with lyrics like, “I’ll be your pilgrim, I’ll walk through the canyon / I’ll rise up each day like the sun / I’ll be your anchor, tied to the harbour / As the light of the dawn has begun.” The lyrics balance poetic imagery with vulnerable emotion that is both tender, sweet and powerful.
As the nearly five-minute track unfolds, the lack of concern for radio-friendly conventions is refreshing, maybe partially thanks to Chamber’s own hand in producing the album. Indeed, the opener signals an auteur approach, suggesting that Backbone will be intimate and unfiltered.
“Backbone (The Desert Child)”
It’s hard to imagine that looking backward in country music could feel like a step forward, but that’s exactly what “Backbone (The Desert Child)” achieves. The second track sounds like it was lifted straight from the notebooks of country legends, yet it manages to feel more honest than derivative. The second track is a perfect example of the humanity in the storytelling and earnestness that’s missing in the “clean boot country” era of party songs, trucks and beer.
Musically, it’s a simple but effective combination of acoustic guitar, fiddles, bass, and drums, harkening back to the golden age of American country western music, but Chambers infuses it with a dash of Australiana. There are references to Southern Cross stars and outback imagery, with nods to Chambers childhood spent on the Nullarbor Plain. It evokes the spirit of her earlier work, particularly The Captain era, in spades.
The song also stands out for its beautifully crafted lyrics and catchy chorus, showcasing Chambers’ knack for melody. There should be no surprise that the tracks also feel as homely as they do, with Chamber’s father Bill Chambers, on guitar, and long-time collaborators Brandon Dodd (guitar) and Jeff McCormack (bass). The inclusion of Sam Teskey from The Teskey Brothers and Brady Blade, known for his work with Emmylou Harris, Steve Earle, and Dave Matthews, ensures that the tracks are musically flawless.
“A Love Like Springsteen”
To be clear, the third track, “A Love Like Springsteen”, is the kind of song I should cynically despise—and yet, I find it utterly charming. The premise is simple: yearning for a love using Bruce Springsteen’s iconic song titles as touchstones. The chorus goes, “So give me a love like Springsteen, and we’ll / Live out our Glory Days,” a line that could easily veer into cliché, but instead feels heartfelt and sincere in Chambers’ hands.
Referential song writing often runs the risk of feeling lazy particularly when it hinges on single-line nods. But here, Chambers doesn’t just name-drop Springsteen’s greatest hits—“Glory Days”, “I’m on Fire”, “My Hometown”, “Dancing in the Dark” etc, she weaves them into the fabric of a well-crafted, catchy song that feels more like a tip of the hat to The Boss than a heavy-handed homage. It’s a delicate balancing act, and while it may lean into sentimentality, it does so with enough authenticity and charm to win me over.
There’s something about the simplicity of the track that works in its favour too. Chambers’ voice carries a mix of reverence and playfulness, making the references feel like a love letter rather than a list of borrowed song titles.
I’ll admit, my bias likely plays a role here. As a self-confessed Springsteen fan, I couldn’t help but feel a thrill recognizing each reference, turning me into the Leonardo DiCaprio meme from Once Upon a Time in Hollywood. But even beyond the nods to Bruce, “A Love Like Springsteen” stands on its own as a fun, infectious track—one that captures the spirit of youthful yearning and the timeless appeal of a love that feels as legendary as The Boss himself.
“Dart N Feather”
Shifting gears, “Dart N Feather” plunges the listener into a dark, moody, Appalachian folk-inspired soundscape, with a beating drum ominously crashing throughout. The song immediately sets itself apart from the more accessible country ballads that precede it, offering a brooding, almost primal atmosphere. Kasey Chambers’ voice takes full command here, soaring over the tense and minimal instrumentation, drawing you deeper into the haunting tone of the track.
The repetition of the line “Aim the Dart n Feather / Aim the Dart n Feather / Aim the Dart n Feather right here in my heart” is hypnotic and catchy, cementing itself to be revised in your mind long after the song ends. It’s a wonderful example of both simplicity and intensity. The steady pulse of the drums heightens the tension, while the sparse instrumentation leaves enough space for Chambers’ voice to shine. Then, just as you think you’ve settled into the song’s shadowy vibe, it bursts open towards the end in a full folk-country hoedown fit for a duelling banjos style moment.
The sudden shift feels brilliantly earned as the drums, fiddles, and guitars explode into a cacophony of energy, like the release of all the tension the track had been building. It’s a fun moment, and a foot-stomping finale. The final spoken line from someone in the studio—“That was bad ass”—sums it up perfectly.
“For Better or Worse”
After the dynamic energy of “Dart N Feather”, “For Better or Worse” slows things down, offering a soft ballad that’s beautifully accompanied by strummed acoustic guitar. The track serves as a showcase for the versatility of Kasey Chambers’ voice, allowing her to transition from the intensity of the previous song to a more tender, emotional space. It’s a lovely way to bring the mood down without losing any of the album’s momentum.
At its core, “For Better or Worse” is a deeply emotional song, anchored by an excellent chorus that elevates its building verses. “We’ll sing hallelujah, until it hurts / We’ve waited forever, for better or for worse,” Chambers sings, with the lyrics traversing the details of loves promises and commitments.
It’s tough not to transcribe the whole song when searching for sections of beautiful poetry, but lines like “When the years drag behind me, and I’m falling apart / And your eyes have grown tired, and there’s rust in your heart /If I hold up the burden and they take me first / I’ll still walk beside you / For better or worse” embody the bittersweet nature of love and loss.
An unflinching testament to enduring love, the song captures the subtle tragedy and beauty that lie within these often-overlooked moments of life and aging. In its own quiet way, “For Better or Worse” tells a love story that spans decades, marking it as one of the album’s standouts.
Despite its slower tempo and elongated guitar solos, the song’s 4:18 duration feels fully earned, with no wasted moments or excess.
“Little Red Riding Hood”
If you looked at my notes from my initial listening to “Little Red Riding Hood” it would just say “Lots of Fun” about 15 times. The old school Gypsy Jazz styled tune is a fun genre departure that also feels right at home. It comes at a good moment where the intertia of the genre change is a nice wake up call and musical muscle flex of both the musicians and Chambers herself. The howling motifs and storytelling through the frame of Little Red Riding hood with lines like “my baby, comes out at midnight, he’s always sleeping at noon” are begging to be used in the intro of a high budget, HBO show for sure.
“Silverado Girl”
A return to scheduled programming, “Silverado Girl” draws water from the same well as “A New Day Has Come” and “For Better or Worse”. There isn’t much new or revolutionary in the acoustic country ballads, but they’re arguably my favourite moments. There is something so genuine and drawing about Chamber’s song writing and ability to impose an immediate intimacy in a track that is just wholesome and inviting. Opening with “these days go by / you’ll be all grown up in the blink of an eye / it’s now July and the rain has come but the deserts dry hit quick and hard” are quality and carry all the way through.
“The Divorce Song” + “Arlo “
“The Divorce Song” is a super fun addition that proves Chambers and Co don’t take themselves too seriously. The addition of the studio musicians laughing through a mistake is a perfect introduction to a tongue in cheek tune that suggests “We couldn’t survive as the marrying kind / but we do divorce pretty good”.
The fact that Shane Nicholson (Chamber’s ex husband) even makes an appearance, is quite the surprise but adds something extra to the mix as they trade lines about a failed marriage. Despite the humorous cloud that hovers over this bouncing country tune, there is still a well constructed tune underneath with a bounty of beautiful lines accompanying the more humorous.
Alternatively, “Arlo” that follows is a truly heartfelt and sweet tune about Chambers’ son Arlo. Chamber’s has a very unique and satisfying ability to pen beautifully vivid lines, like “time is a vulture, my how you’ve grown” and “I’m blessed and I’m proud I go north you go south” that conjure up so much of the experience of raising children. It’s a sweet tune, albeit an odd addition to have run after “The Divorce Song”.
“Broken Cup” + “My Kingdom Come”
“Broken Cup” follows with Chambers are her most pensive, proving an uncanny ability to turn a phrase better than most. A meditation on what truly grants satisfaction in life, it pairs well beside the beautiful, low key hymn of “My Kingdom Come”. Trading angelic vocals with Ondara, “My Kingdom Come” is a beautiful detour into Southern church hymn territory. The addition of Kenyan-American singer/songwriter J.S. Ondara is a masterstroke too, and ensured this short and sweet moment is a total standout moment.
“Something to Believe In” + “Take Me Down the Mountain”
The final third of the album is opened via the bluesy, organ heavy moments that surround “Something to Believe In”. Another angelic southern church inspired hym, equipped with a few “Glory Halleluja’s” and bluesy guitar solo to boot. It also carries with it some of the elite song writing in lines like “the start of the sorrow is the end of the line/ a run through tomorrow is a walk through the pines/ and we have got something from nothing/ my darling that much I know”. “Take Me Down the Mountain” however, brings back the barn raising stylings filled with fiddles and a toe tapping country shuffle that spikes the energy in the tail end of the album. A few yodels and a “don’t give a fuck about your moaning and fussing” give this one an attitude and energy that was well needed.
“You Are Everything To Me” + “Lose Yourself (Eminem Cover – Live in Newcastle)”
The final of the original tunes, Chambers rounds out the song writing credits on the album with a lovely, slow love song. Accompanied by beautiful strummed guitar and moments of delightful lead, the soft and tender ending is a comforting finale.
The live cover of Eminem’s “Lose Yourself” is a surprising yet delightful addition, and the albums true finale. Its inclusion is an unexpected treat, and though its connection to the album may be expanded on in the book, it offers a fascinating crossover of genres.
Final Thoughts:
With Backbone, Kasey Chambers proves she has no intention of coasting on past success. The album showcases her versatility, balancing classic country ballads with more adventurous tracks, all while maintaining the raw authenticity she’s known for. Whether you’re drawn to the storytelling of “A New Day Has Come”, the heartfelt simplicity of “For Better or Worse”, or the energetic surprise of “Dart N Feather”, there’s something here for every fan.
The album can get a bit weighty if you’re not prepared, or enjoy, a few low-key acoustic tunes. Carrying the weight of a 15-song album is always a tough task and there are some moments that may have benefitted from a little bit of tightening up. In saying that, I do think this album is the way it was meant to be and the book may elude to, and justify its length.
However, if you’re back after a long hiatus as I was, it’s like catching up and wondering why you ever drifted apart. If you’re a long time fan, you’ll be wholly satisfied.
Backbone is a testament to Chambers’ enduring talent, reminding us why she remains one of Australia’s most beloved singer-songwriters. And with that, I’m off to buy the book.
FOUR AND A HALF STARS (OUT OF FIVE)
Backbone is out today. Grab it HERE
Kasey Chambers – In Conversation: Just Don’t Be A D**khead is also touring around Australia. Find dates and tickets below.
