A decade after their debut, it’s worth considering jus
A decade after their debut, it’s worth considering just how much impact Brothers Osborne have made. Alongside a handful of others, they’ve helped take country music to people who probably never imagined themselves listening to it. Their significance goes further, too. When TJ Osborne came out in 2021, he was the only openly gay artist signed to a major country label. That visibility matters, as does the connection their music has made with people across the world.
Their fifth album, “Watertown”, reunites them with producer Jay Joyce, and “Born And Raised Hell” might open with something widescreen, but it soon makes clear that they still know their roots. John Osborne’s guitar solo sees to that. Cody Johnson joins them here, one of two guests whose presence underlines the company the brothers now keep. They’re firmly in the big leagues themselves.
The slide guitar on “R.I.P.” brings a different flavour, and there’s something about this particular breakup song that suggests it’s going to become a live favourite. You can already imagine the crowd taking ownership of it. They’ve always understood how to turn something personal into a song that thousands can sing back.
“Family Business”, though, gets closer to explaining why they’re so good. Country music has hardly been short of songs about family, but the Osbornes have little interest in serving up the expected clichés. There’s affection here, certainly, but also character, a few awkward truths and a sense of humour. It’s actually amusing, which is considerably harder to pull off than it sounds.
And good grief, they can write a chorus. “High” is proof enough of that, before “Bottle It Up” delivers a summer pop anthem that feels rather at odds with the grim darkness and rain outside in the UK at the moment. Perhaps that’s precisely what’s needed. It’s also part of the reason their music travels so well: songs this immediate are going to find an audience wherever they’re played.
“Ain’t Killed Me Yet” heads towards outlaw territory, making bad choices and apparently having every intention of carrying on. There’s a swagger to it that suits them. “Doors”, meanwhile, shows how clever their writing can be. The central metaphor gives them plenty to work with, but the song carries it naturally. You can admire the idea and still enjoy the tune.
Then there’s “Stubborn”. You might assume they’re writing straight from the heart, such is the conviction of the delivery. It’s actually one of two songs here neither brother had a hand in writing, alongside “Bottle It Up”. They know how to recognise a song that belongs on their record, too.
Stephen Wilson Jr. appears on “Tough Kid”, and its account of growing up reaches well beyond any particular small town. There are people who’ll recognise something of themselves in it everywhere. “Same Ol’ Different Story”, co-written with Kendell Marvel, adds a little blues, a little soul and some fine storytelling to the mix.
The title track closes things with an almost gospel reverence for where they’re from. Written by John alone, it brings everything home, literally and emotionally.
That’s what “Watertown” does best. These songs draw on the brothers’ lives, their surroundings and the people they know, yet the feelings reach far beyond Deale, Maryland. Family, heartbreak, belonging, mistakes: they’ll resonate in towns and cities thousands of miles away.
Brothers Osborne understand those connections, and they’ve got the songs to make them count.
Rating: 8/10
