Trevor Drury has slowly, but surely, become one of the most discussed solo artists in the American indie underground over the last year, and he’s back in the headlines this March with a brilliant new single titled “Head on the Tracks” that fans and critics can’t seem to get enough of. Released on March 29thto a level of fanfare that has become oh-so typical for the dapper pop singer, Drury’s latest studio cut wades between the dark waters of jazzy vocal pop and a more straightforward variety of adult contemporary focused on the lyrical stylings of our star exclusively. “Head on the Tracks” is almost like a dirge that’s been given a sonic shot of adrenaline; while the poetic drawl that exists as a buffer between the devilish drums and the bulging bassline is laced with a blue lyricism, Drury’s method of execution from behind the microphone keeps us from sinking into the depressive throes of the song’s minor key melodies. This is the caliber of content that I’ve come to expect out of this young songwriter, and he’s not letting me down in this single at all.

“Jealousy,” “Snowy Nights” and “Trip to the Water” set the stage for “Head on the Tracks” in a lot of different ways, starting with their stylistic template. Trevor Drury has been refining his sound over the last two years, and while he’s working with something relatively close to the same formula that he used in the indie smash “I Know You from the 70’s (Remix)” back in ’17 on this song, there’s no denying how much compositional dexterity he’s attained in regards to his overall approach to composing. He’s eliminated the mere notion of adding frills to the master mix of his tracks, and if anything, he’s adopted one of the more conservative attitudes in his scene when it comes to arranging instrumentation. Drury has always been a pretty focused guy in the studio, but to say that he’s been trimming the fat off of his sonic profile in 2019 might be the biggest understatement that anyone could make about the state of his meteoric musical career.


There’s a near-endless amount of crossover appeal in “Head on the Tracks,” and personally I find it to be the most unfiltered exhibition of Trevor Drury’s creative versatility in his professional life to date. This song is a ballad that wants to be so much more than just another slow-stirring pop song; it’s got a methodical swing that will smack you in the gut when you’re least expecting it, a melodic disposition that could brighten up even the darkest of days, an arrangement of harmonies that on their own could move mountains when amplified to the right volume, and a leading man who has learned to define his emotions not only through his words but through the way he croons them to us. “Head on the Tracks” is yet another boisterous breakthrough moment for this skillful musical mastermind, and more than enough reason to keep a close eye on his future transmissions from inside the studio and beyond.


Sebastian Cole