No musical box has ever contained Evan Honer. After the release of his full-length album, Fighting For, it was widely understood that deep emotions were never left unfelt when listening to Honer’s catalogue. Just one summer later, his latest record, Everything I Wanted, has already arrived, bringing the same levels of captivating depth on a new front, putting the overbearing boundaries of genre definition in their place: far out of sight.
From the beginning, Evan Honer strikes with experimentation that doesn’t feel out of the ordinary. Without a real twang to his voice, he realizes his strengths can be used outside the confines of country and folk. Legends like Jason Isbell and bands like Pinegrove have shaped him as a listener; it’s plain to see how they’ve already played into his artistry up to this point. However, the more indie-rock elements that have been slowly introduced through recent singles make a larger appearance throughout the new record’s tracklist.
The title track comes up first and feels more like a statement than a subtle introduction. Having already released it as a single, fans have had a chance to get used to its new energy, carrying a natural-sounding rock-and-roll essence that almost feels more fitting to Evan’s voice than his singer-songwriter sound. Something about it feels like he’s breaking free, whether because he finally has access to the recording quality his new music demands, or simply because he hadn’t discovered his new style until now.
Starting on the folkier side comes “Long Road,” but it doesn’t stay there for long. Instead of gradually building into the chorus, he punctuates the shift with two sharp hits and an immediate swell in volume, before flipping the groove into a half-time feel for the hook. This track also spotlights Honer’s fresh falsetto, adding another layer to the album’s sound and underscoring the more intricate musicality he reveals throughout.
Within “Long Road,” more of Evan’s unique lyrical ability is found. One of the most interesting features of his writing comes in the line “Running low on quarters, man, I wish I had a car… Fifty miles an hour makes an hour not so far.” Everyone knows the feeling of the achingly slow-ticking clock, but Evan takes it further, calculating his miles and minutes together. Lines like that make a passive listener want to rewind to make sure they got the whole story, which goes to show the power held within the writing of this song.
Where some of this album can feel repetitive is in the overall sound of tracks like “It’s A Home,” “Place I Hate,” and “Curtain.” While each tells its own story, on a full listen, these moments come across as déjà vu. There’s nothing truly bad or poorly executed about them, but if you’ve heard much from Evan, they appear more like filler. Still, these are also tracks that, when revisited, could reveal some of your favorite lyrics. Longtime listeners will notice in “Place I Hate” that it feels like a life update from Evan. As self-reflective as he is, it means something for him to explain, “I’m getting good at making it look like I’m doing just fine, but the truth is I’m getting used to getting drunk all the time.”
Honer explains he feels the same way he always has, but “it’s just harder to tell.” These artistic check-ins make an artist feel see-through, creating a level of authenticity that turns a listening experience into a much more personal, intimate moment.
Across every corner of his sound, Evan Honer seems to uncover something new, and “Waiting Room” is no exception. Overflowing with devotion, the track pours out lyrics of lasting love across a brisk minute and thirty-eight seconds. Set to a fresh, smooth backdrop that leans toward pop while staying rooted in the usual acoustic footing, Honer reflects on how ‘lights go off’ when his lover speaks his name. He paints a picture of a beautifully imperfect love, admitting, ‘I was never good at nothing, but I’d say loving you is something. I’ll build a house and we’ll move in too soon.’ It’s not a blameless love; it’s a genuine one. On the flip side, Evan reveals a lack of certainty in “Not There Yet,” where a relationship feels rushed as everyone calls his new partner ‘part of the family’ a little too soon.
If it isn’t already clear, Everything I Wanted proves that Evan Honer is intent on examining every corner of his artistry and pushing it forward. It’s a project that refuses to stay comfortable, pulling in new inspirations and emotions that were probably still being felt as he wrote them. Where he goes from here cannot be predicted. Having shown he’s not one to stay one-note, it’s certain he will keep evolving, pursuing material that stays true to himself as he moves into whatever comes next.
