I’d not even heard of California born/Brooklyn based Margaret Glaspy at the start of 2023, so this wonderful album is a find. Glaspy perhaps isn’t all that interested in tearing up any rule books here, but absolutely every aspect of Echo the Diamond exudes quality and class. There’s not a single misstep, and the result is massively impressive. I’ve played it pretty consistently since I first heard it in the summer. This is a record of grown-up songwriter indie rock, with a variety underpinning influences ranging from blues to grunge. The guitars in particular really sound incredible in the production. Worth noting that Glaspy co-produced herself, along with her partner and fellow troubadour, Julian Lange (aside, there was a good EP from him this year too, albeit that it was a bit too ‘jazz’ for my taste). The guitar lines are inventive and original without ever going too far off piste: the precision of Glaspy’s playing is exceptional. Lyrically, the more emotional songs on Echo the Diamond – rooted in grief, predominantly – are offset by some humorous, if usually sharp-edged, social commentary. By rights Margaret Glaspy should now be looking at household name status, because Echo the Diamond hits the sweet spot between accessible and inventive. Very much looking forward to seeing her live in a tiny room in early February 2024. Might well be the last time she plays those sorts of venues.