Rob Bonfiglio and The Honeymoon Stallions
Rob Bonfiglio “The Over Under”
It took eight years, but Rob Bonfiglio returns with ‘The Over Under,’ his most personal solo record to date. This is a focused, melodic album shaped by decades of experience, both on stage and behind the scenes. Bonfiglio built his reputation with Wanderlust, then expanded his reach working alongside Wilson Phillips and touring with legends like Brian Wilson. That background shows up here in subtle ways. The songwriting feels confident, the performances tight, and the production is crisp without sounding sterile. While not a straight power pop record, it tends to lean into more modern rock influences from the late 80s, with the bright “Runnin’ From Me” leading the way. The standout track next is “Monsters.” It hits hard, with sharp hooks and a punchy arrangement that recalls peak-era Butch Walker. It is the kind of song that sticks after one listen.
There are also strong supporting contributions, including vocals from Lola Bonfiglio on “Blame This.” Still, this is clearly Bonfiglio’s vision. He handles most of the instrumentation himself, approaching second half of the album with synth textures and a looser groove. While the title track has a lot of neat little passages, it still needs a better hook to keep you coming back. “Fade Away” shifts into melodic Americana, lifted by some fine pedal steel guitar from Xandy Chelmis. “Wandering Eyes” carries the DNA of Matthew Sweet in its crunching chords, and “Like A Drug” is an uplifting, soothing pop gem akin to Andrew Gold. Overall a very good album, and if you followed his earlier work or missed him over the past decade, ‘The Over Under’ delivers. Highly Recommended.
The Honeymoon Stallions “Bona Fide”
It’s been nearly 14 years since Andy Goldberg has given us some new power pop. Lucky for us, his band The Honeymoon Stallions hasn’t lost a step, and ‘Bona Fide’ has him a little older, but just as melodic. “Stay A Little Longer” sets the tone right away. It’s upbeat guitar pop with a chorus that sticks after one listen. The band sounds sharp throughout, with Charlie Morgan on drums, Dean Basil on bass and backing vocals, Peter Dillon on bass, and Paul Umbach on keyboards. That lineup clicks best on “Kiss Me Quick,” where the rhythm section drives a tight, confident performance.
“Great Surrender” slows things down with a mid-tempo ballad that leans into early ‘60s influence. The melody carries the track, and the arrangement stays focused without overreaching. Elsewhere, “Strong Enough” and “Coming Around Again” tap into a Lannie Flowers-style approach, built on clean hooks and classic pop structure. Goldberg keeps his identity intact, avoiding current trends and sticking with what he does well. His songs also track a bit longer with several passing the 4 minute mark. The only drawback is the lead vocal sits a bit low in the mix at times, which softens the impact slightly. Bringing it forward would help a few songs land even stronger. Still, ‘Bona Fide‘ delivers what longtime fans expect. Highly Recommended.
Power Popaholic Interview: Quinn Hawkins
Quinn Hawkins
What stands out is his balance of dry humor and honesty. He does not over-explain his work or chase trends. He focuses on writing songs that feel true in the moment. That approach gives ‘Eccentric’ a consistent voice, even as the themes shift. It is a reminder that strong songwriting still starts with clear thinking and personal perspective.
George Usher and The Corner Laughers
George Usher “Stevensonville”
What happens when artists get older? Some keep chasing the same rush, like Cheap Trick still plugging in and turning it up. Others slow things down and focus on life’s little details, like George Usher with his latest release, “Stevensonville.”
This is a concept album built around a small-town landscape, filled with sharply drawn characters. From “Reverend Thomas Pardee,” warning his congregation about creeping dangers, to “Judge John Bailey,” consumed by suspicion, Usher paints a series of interconnected portraits. His worn-in vocal delivery fits the material, giving each story a grounded, lived-in feel. “Mitch Kunkel” has a strong melodic hook and the country-leaning ballads, especially “Mary Beth Merriwether,” show off Usher’s songwriting depth. “Benny Weed” closes things out on a more optimistic note. It is about taking a risk and leaving the past behind, which gives the record a sense of resolution without wrapping everything up neatly.
This is not a quick-hit power pop record. If you connect with the characters and see pieces of real life in them, it will stick with you. And like Benny figures out, there is always a way to move on when it is time.
The Corner Laughers “Concerns of Wasp and Willow”
Northern California indie pop outfit The Corner Laughers return after a five-year gap, with Karla Kane steering the ship as usual. The opening track “Terra Mia” kicks things off with bright ukulele and a melody that sticks right away, a clear reminder of Kane’s strength as a songwriter.
You get the breezy, laid-back feel of “Dusking,” then a heavier, more sugary pull on “Larkspur Landing.” That mix of light and weight has always been part of their identity, and it still works here, even when the softer moments seem overly sweet. Songs like “Rainbow Cardigan” and “Dark Matter,” which showcase their positive and energetic attitude with a hint of environmental advocacy, are highlights here. The sunshine pop of “Crumb Clean” and “Universe Point” are also underrated gems. Overall a great album, and it’s highly recommended.
The last of March: Rob Bonfiglio, Tamarack, Gooey Cookie, Friends of Cesar Romero, The Linda Lindas, Al Ham