Greg Freeman at Globe Hall in Denver
I’ve written a lot – some might say a little too much – about indie country this year. What I’ve called “the slightly disheveled city cousin to Americana’s country mouse” has provided some of the best songwriting in both the indie and country spheres in 2025. But there’s a bonus benefit that comes with these artists – their bands, almost without fail, rock. Florry, Fust, Mj Lenderman – they’ve all provided good, loud guitar music to go with their sublime lyricism. After this past Saturday evening at Denver’s Globe Hall, I can add Greg Freeman to that list. His August release, Burnover, was one of the best records of 2025. Now I can add his live show to my list of favorite musical moments of the year.
Freeman recently reconfigured his now six-piece band so that he’d be the sole guitar player, and that set-up (with fiddle, sax, steel, keys, bass and drums) allows the live show to adhere closer to the arrangements that Freeman recorded. Also key – most of his road band, which included Scott Maynard (drums), Ben Rodgers (pedal steel), Cam Gilmour (sax), Garrett Linck (bass) and Sam Atallah (keys), also was in on the Burnover studio sessions. But the surprise was how muscular that single guitar still sounded. From the opening notes of the Rust set-adjacent rocker “Point and Shoot,” it was apparent that the band would be replicating the rugged jangle found on Burnover (recorded primarily live in-studio) while adding even more teeth to the mix (the sold-out crowd approved, going from bouncy to, at times, borderline mosh-y).
Freeman’s higher register and meandering vocal style has been compared to Jason Molina and, while that’s an obvious (and excellent) influence, he also reminds me of a contemporary and frequent collaborator, Lily Seabird. Both artists are based in Burlington, Vermont, and there’s something very Northeastern about Freeman’s songs (I’m based in Denver now, but I grew up in frigid, rural Upstate New York). Sometimes the allusions are straightforward – one of the show’s highlights was “Rome, New York,” with the lonely imagery of “Pass right by the broken dreams of the broken into cars.” Other times, it’s desultory lines – “I just want you to smile/Or at least pretend to” – in the languorous “Long Distance Driver,” from 2022’s growing-on-me debut “I Looked Out.” Even one of this night’s favorites, “Colorado,” references subways and broke schools, to me (at least) cold and rusty snapshots that remind me of the part of the country I grew up in. Maybe that’s why the alt-rock controlled chaos of the arrangements enhances, rather than contradicts, the melancholy of the songs – we need boisterous distraction and reason to move, or else we’ll feel buried by the real-life implications of the lyrics. Whatever the reason, it works. And, after the fall leg of Freeman’s tour wrapped with a final show in Nashville on December 16, he and his band will retake the road early next year. Catch them if you need a loud reason to bury, temporarily, your blues.
To order Burnover, go here: https://gregfreeman.merchtable.com/
Check out tour dates here: https://greg-freeman.net/
Read my Americana Highways review of Burnover here: https://americanahighways.org/2025/08/20/review-greg-freeman-burnover/
