America: it is the best of countries, it is the worst of countries. Its bully face is on full display right now and has been in full force ever since 2025 became a thing. But the country’s silver lining can always be found wherever good people push back against the bullies. Like today’s featured artists. Each one draws a musical line in the sand with wit, compassion, and more than a few good hooks.

On their self-titled solo album debut Dish Pit Violet take aim at capitalism, bigotry, organized religion, the American Dream, and whole lot more. And seldom are such topics taken up with such delicious stylistic variety. “Hi I’m Violet” kicks things off with a Magnetic Fields kind of lyrical directness mapped against an incrementally expanding musical backdrop. It effectively sets the tone for what’s coming: straight-up social commentary set to alluring music. Violet then offers a truly liberatory take on success with “You Are My American Dream,” asking ‘can I get my kicks outside of this capitalist framework?’ and answering ‘I get my kicks when I talking to you.’ But the analysis goes deeper, noting that ‘working for someone else’s dollar, it will become your collar.’ Insight worthy of old German philosophers everywhere! By song #3 we’re primed for “Nobody’s Better,” the big production, crowd-singalong number and the album’s obvious single. It oozes the elan of those early 1980s dance numbers that defied categorization but still filled the dance floor. The bass line here really ties things together. For a second helping of singalong time check out “Rough String” and it’s catchy chorus. From there the album shakes things up, vibing a host of possible influences. “I Hate It When I Do That” exudes an airy Talking Heads kind of simple sophistication to my ears. “Back Up” launches right into some synth dance beats reminiscent of 1980s Soft Cell. “Tip-Top-Drop-Dead-Knock-Out” is the closest thing to a conventional pop song here and it’s still wonderfully eccentric. In terms of single-age, “I Hope I’m Ready For You” gets my vote with its hypnotic looping synth hooks. The LP draws to a close with two nouvelle vaudeville numbers, “You Picked Jesus Over Me” and “Sweetheart,” the latter offering some light McCartney-esque shading. Don’t let the garden-scene cover fool you, Dish Pit Violet is a record that mixes sharp hooks, biting commentary, and a whole lot of heart.

I’ve been a fan of David Woodard for a number of albums and EPs and with each release he tweaks what he’s doing in some interesting way. Everything Belongs maintains his unerring power pop chops but adds a layer of political insight that flashes a high degree of lyrical artistry. Take “Freedom Fries,” a rollicking rock number where Woodard sings ‘we grew up deep fried American, even the food was partisan’ where [we] ‘believed in truth and fries, served with a side of lies.’ Clearly Woodard is not holding back. The album opens with “Everything That’s Wrong with Everything,” a song whose ambitious scope reminds me of Alabama’s Lolas in both melody and message. “Scapegoat” is more of a chord cruncher that runs against the bully grain of American’s current dominant political strain. Then “Everything Belongs” guitar blasts through the hypocrisy of organized exclusion that is much of what passes for faith in today’s America. “Myth of a Nation” is even more hard hitting, calling out America’s bait and switch approach when it comes to immigrants and opportunity. “Metastupid World” leans into its critique of America’s current world leader pretend. However, the record is not all three-chord Chomsky lectures (not that there’s anything wrong with that). Woodard does pause to enthuse about “Coffee Houses” and “Baseball Cards.” Most importantly, the songs are brimming with his signature poppy hooks. And that’s gotta mean more satisfying fist-waving at those demos.

Minneapolis, Minnesota strummer Samuel Wilbur describes his latest album Ivory Tower as an ‘anti-capitalist end-of-the-world Rock Soap Opera,’ a description that really captures the critique suffusing nearly every song here. Sometimes it’s obvious, as on “Everything’s Falling Apart” or “Social Security Number.” But other tracks like “Hornet’s Nest” work up a metaphor to convey its message about inequality and the groupthink of those who struggle to maintain it.  Stylistically, the record is harder to define, the material toggling back and forth between Americana and a cosmopolitan pop vibe. Opening cut “Everything’s Falling Apart” exemplifies this genre-crossing practice, nodding to 1980s English guitar bands while throwing in some American indie rusticity. “Social Security Number” gives voice to the information exhaustion we all feel with the endless requests for all manner of identification, with guest vocalist Dani Michaele casting quite a different spell over the band sound. Another guest vocalist Meghan Kreidler gives a modern Kate Bush wash to “Ivory Tower” while “The Remainder” begins all Beatles before heading into the 1990s. By contrast, “Tired” moves entirely into a modern pop indie sound, sometimes grinding along, sometimes offering sweetness itself. The record ends with a rumination on consumption in “Everything Repeats,” wondering if we can stop ourselves before it’s too late.

Art is another way to do politics. It can be hard-hitting, insightful and definitely more fun than door-knocking. Help spread the word!

Photo ‘House of Women’ film still courtesy James Vaughn Flikr collection.