Steve Meier


With a sound that sounds like a country boy who learned to rock it on the guitar, Steve Meier comes through with a unique sound every time an album is dropped. Whether it be 2016’s Meier or this April’s Sorrys and Goodbyes. He’s firing on all cylinders. Taking control of everything on Sorrys and Goodbyes, Steve handled the bass, guitars and the vocals but did have a little help from fellow musician and friend Jerrod Brunemeier who played on the title track as well as “Don’t Look Back.” Sorrys and Goodbyes is a gritty rock record with country elements hidden in the basement of each track.

If you’re looking for something cool, by someone cool, this EP does the business. It doesn’t lean too far in either the rock or country genres, instead it qualifies more along the lines of blues and Americana than country. “Hidden in the basement” is the best way to put it indeed because it’s just laced through the sound, but not the overall style of Steve Meier’s music. The EP begins with the red hot “Walkin With A Woman” to prove he means what he sings. It’s all about getting the eye from a lady and going out on the town from there. This is one kicking tune to say the very least. A real finger snapper.

The harder side comes pouring right out on the next track ‘You Don’t Know” with its playful but serious approach to songwriting that blends just right with everything else about it. The lyrics are fantastic, as they eat away at you with every witty set. They complement the chorus with absolute perfection. It’s probably the most-catchy track, if not the second. There’s only four tracks, so that’s barely enough to make such a call, but it has an edge over one or two of them. I rate it in the top of the pack anyway. His voice is so contagious you’ll have to see for yourself. That’s all there is to it.

“Don’t Look Back(ft. Jerrod Brunemeier)” stands out as the most different of the four tracks. It fairs fine as a song and everything, but it carries a dirtier sound, almost reaching into the punk-zone. But the sound is a little too big to call it that. There’s no country traces to be found here though, let’s put it that way. I do like it, but it’s the least inspiring track. But don’t get me wrong, it still rocks to the max with the rest of them. No worries, it’s just doesn’t grab me like the others do. I did like the use of keyboards which challenges everything about its punk-ish factor.

The most interesting and layered song is the closing number, “Sorrys and Goodbyes” and it is an epic piece of ear candy that draws you in with a minimum of effort to get interested in it. This isn’t a fast-paced tune like any of the others, it’s a magical track that paces you and delivers the prize. It’s good to be Steve Meier, but will bring more to the table next time by going all out with enough songs to catapult this talent to the stars. That is the question, because so far he’s made remarkable efforts to prove he can reach a higher level of existence in the current musical landscape. It leaves you wondering much about it.


Mike Tabor