Album Review: The Barbaras Take Us for a Ride on Rollercoasters
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Album Review: The Barbaras Take Us for a Ride on Rollercoasters
"On Rollercoasters, The Barbaras remind us it's okay-and often more fun-to not have your shit together. Instead, they endorse a lifestyle of falling in and out of love, and falling in and out of lust, while staying in love with yourself, and who you are perpetually becoming. And flashing your boobs! Refreshingly young and femme, The Barbaras' deceptively complex take on twang country-a genre notoriously rife with misogyny, racism, and"
"Refreshingly young and femme, The Barbaras' deceptively complex take on twang country-a genre notoriously rife with misogyny, racism, and homophobia-fight the good fight with their expansive wit and charm, self-assurance as personal growth, and harmonies not heard since The Judds sensational 1984 album Why Not Me. Like The Judds, The Barbaras are fronted by two femmes from one musical family."
"Now co-leading The Barbaras with her sister Weezy, the band is composed of some big names in Portland country and indie: Mark Robertson of Corbett, Oregon's Littlepage Recording keeps the band's backend strong on bass, alongside Buddy Weeks of Jenny Don't & The Spurs, and Haven Multz Matthews of Silver Triplets of the Rio Hondo on the skins. Longtime Ford collaborator, Jeff Munger lends his perfectly laidback guitar plucking"
Rollercoasters embraces youthful imperfection and urges acceptance of not having everything figured out while prioritizing self-love amid cycles of love and lust. The Barbaras combine playful provocation with a femme-forward reclamation of twang-country traditions, explicitly flouting decorum and flashing bodies as part of their persona. The band confronts genre misogyny, racism, and homophobia through witty lyricism, confident harmonies, and spirited arrangements that echo classic country duets. Sisters Sallie and Weezy Ford lead a seasoned Portland ensemble of indie and country veterans, anchored by Sallie Ford's recognizable vocal presence and musical history.
Read at Portland Mercury
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