Lydia Loveless

Pigeonhole Lydia Loveless at your peril. Over the course of seven studio albums, the Columbus, Ohio-based singer-songwriter has become known for wry, observant lyrics that don’t sugarcoat the realities of everyday life. Although frequently associated with the Americana scene thanks to early Bloodshot Records albums such as 2013’s Boy Crazy, their catalog is much more expansive: 2023’s full-length Nothing’s Gonna Stand In My Way Again boasts sturdy songcraft that defies categorization, while 2024’s Something Else featured piano versions of the songs on their critically acclaimed 2014 country/pop/rock breakthrough Somewhere Else. Throughout 2025, Loveless released a song a month on Bandcamp, challenging themself to be prolific and productive. Several of those appear on their new EP Accolades, which is signature Loveless: a deeply personal meditation on relationships, the music business and navigating the modern world, conveyed via a mix of dark humor, blunt assessments and the occasional sliver of light.

Musically, the collection again detonates any expectations, encompassing ‘90s alternative rock (the Liz Phair-esque “Oklahoma”) and muscular bar-band anthems (the Farfisa organ-augmented “What We Learned”) as well as more stripped-down fare. Accolades nods to the sound of Loveless’ earlier work, albeit from the perspective of someone with more life experience. “I do feel like there is a very Americana sense to it as much as there isn’t,” Loveless says with a laugh. “I was really inspired by Tom Petty on a lot of these songs, where I wanted to give them space to breathe, like I feel like a lot of his songs do, and focus more on telling stories than dumping my life on everyone.”

They recorded Accolades at Southern Grooves in Memphis with Matt Ross-Spang engineering and co-producing. “Working with Matt was really, really wonderful, because he never batted an eyelash at any long days or me trying to get the right take,” Loveless says. “He was ready to go every day.” They were particularly excited that Ross-Spang hired ace local Memphis session players who had played with legends such as Isaac Hayes. Woodwinds such as flute and clarinet add subtle orchestral glamour to the easygoing torch song “Avoiding Highways,” while velvety horns give “Let Me Get My Hopes Up” a soulful touch. “I’ve never had the instrumentation that I had access to in Memphis, where we could just get people to come in and put woodwinds on a song and elevate it to a totally different place,” Loveless says. “Those songs are very different for me. I let someone else take the reins a little more than I normally would.”

Loveless claims “Let Me Get My Hopes Up” is “about the most sincere that I can get.” Written as part of a song swap challenge with their then-partner, it centers a narrator who dares to think a relationship might work out. “I think I’m generally optimistic, or I wouldn’t still be here,” they say, “but I do have a tendency to think of what can go wrong instead of what can go right.” Take “Oklahoma,” which they wrote while on the road opening for (and playing bass with) Drive-By Truckers’ Patterson Hood. At the time, Loveless was in a long distance relationship and found being apart from their partner was emotionally difficult; accordingly, the song’s lyrics lament the insurmountable distance between them and admit that the relationship feels like it’s slipping away. “What We Learned,” meanwhile, is a barnstorming exploration of the ways bad relationship patterns are passed down through the generations. “I was examining my inability to reject someone,” they explain. “I get very attached and fall head over heels even when there’s no reason to. And the person that song was inspired by was the same way.”

Loveless zeroed in on their professional life on “Avoiding Highways,” which is “about feeling stuck and out of place while the rest of the world evolves around you, and the frustration with being a musician and trying to make it work,” they say. “Which I always promised myself I would never write about, because it’s like, ‘Nobody asked you to do this.’ But you’re called to it—although it can be very difficult, especially watching the changes in music over the years that make it less and less accessible.”

Accolades is bookended by two different versions of the title track: a laid-back electric take and a plaintive, spare rendering sprinkled with deconstructed piano—a structure that highlights her inimitable vocals. Loveless says the song “felt like the centerpiece” of the record in the way it touched on the messy noise of modern living. “Anyone can get on the internet and voice their opinion—until it’s everyone’s opinion piled on top of each other, of everyone saying the same thing and having the same stupid hot take. Myself included, they say. “I miss the mental quiet that came before we all knew what everyone was thinking all the time.” Although Accolades doesn’t necessarily come up with any answers to these thorny situations, the EP does emphasize that all of us are in this challenging world together. “I really feel at home in these songs,” Loveless says. “I stopped trying to make any stylistic choice and just served each song. It didn’t feel like I was trying to craft this long, cohesive narrative. I just allowed myself to enjoy making music with my band.”