Ben Musser

Sentimental Fever

Blackbird Records

It took two decades of acclaimed songwriting for Ben Musser to release his solo debut. As the frontman for projects like Benyaro, Musser spent years working in collaborative settings, pushing the boundaries of American roots music while teaming up with other musicians. Benyaro earned plenty of recognition along the way, performing everywhere from SXSW to the Sundance Film Festival. Still, Musser, who often juggled multiple instruments onstage while singing and playing acoustic guitar, kick drum, hi-hat, and shaker all at once, seemed destined for something even more personal.

With Sentimental Fever, Musser turns a new page. This is more than just the first album released under his own name. It is the fully realized statement of a one-man band, with Musser writing every song, playing nearly every instrument, and sharing co-production duties with Scott Mathews, whose credits include The Beach Boys, Van Morrison, and Roy Orbison. Released in an era dominated by digital automation, Sentimental Fever feels like a classic album built for modern times. Its eleven tracks are rooted in strong songwriting, lush organic arrangements, and the hard-earned confidence of a self-sufficient artist finally stepping fully into his own voice.

After spending time in major musical hubs like Nashville, Austin, and New York City, Musser relocated to Jackson Hole in the late 2000s. While the beauty of the Wyoming mountains was undeniable, he missed the creative energy that had surrounded him back east. When the Covid-19 pandemic brought touring to a halt, Musser used the downtime to sharpen his skills as a keyboardist and upright bassist. Out of that quiet period, a new batch of songs began to emerge.

The album opens with “Love Yourself,” a personal pep talk wrapped in uplifting Americana textures. Musser delivers the song with warmth and conviction as he sings, “Don’t forget to love yourself, don’t worry about anybody else,” building the track around a message of self-worth and perspective.

On “New York Is the Place,” Musser shows off his distinctive percussive acoustic guitar style, a string-pulling and popping approach inspired by Americana cult favorite Malcolm Holcombe. The song reflects on the emotional landmarks of his life, including family, fatherhood, love lost, and love found, while carrying a sense of movement and possibility.

“And to Think” is a Rhodes-driven love song with a beautiful melody and a deeply intimate feel. Musser handles lead and harmony vocals while also contributing acoustic slide guitar, electric guitar, and drums. The result is one of the album’s most tender and melodic moments.

On “Never See Her Face,” Musser returns to that same unique acoustic attack, again using string-pulling and popping to give the song its rhythmic identity. The track balances a breezy feel with an undercurrent of melancholy, showing his ability to make reflective songs feel both personal and accessible.

“Falling by the Wayside” shifts the mood with a harder edge. Featuring Musser on Wurlitzer and slide guitar, the track is a frustrated, fired-up rocker. Co-producer Scott Mathews contributes drums and piano, helping give the song a fuller, more aggressive punch as Musser lets loose vocally.

“Downtown Tree” is inspired by those who lost their lives on 9/11. With backing vocals from Meg Chamberlin, the song carries a reflective and heartfelt tone, using memory and shared loss as its emotional center. It is one of the album’s more poignant moments.

On “Keep My Babies Safe,” Musser is joined by Mathews, Chamberlin, and Walker Young on harmonies. The song is filled with emotional urgency, channeling fear, love, and determination into a plea for protection in a troubled world. It is one of the album’s most direct and heartfelt statements.

“It’s Alright to Fade Away” features Musser on guitar, organ, bass, and drums, with additional backing from Young. The song has a weary, reflective mood, but there is also acceptance in its message. It feels like a meditation on change, distance, and the passing of time.

“I’m the Lucky One” brings in a lighter, almost doo-wop flavored charm. Musser plays guitar, piano, organ, bass, and tambourine, while Mathews adds both drums and spinet piano. The song works as a sweet and affectionate celebration of love, showing another side of Musser’s range as a songwriter.

“Fearless Little Pearl” again highlights Musser’s one-man-band talents. He contributes guitars, piano, organ, accordion, bass, drums, and tambourine, while Walker Young adds harmony vocals. The song is tender and deeply personal, made even more touching by the child’s voice heard singing “hallelujah” near the end.

The title track, “Sentimental Fever,” once again finds Musser handling multiple instruments as he delivers one of the album’s central emotional statements. It feels reflective, nostalgic, and grateful, serving as a fitting summary of the themes that run throughout the record. The album closes with a shorter reprise of “Falling by the Wayside,” bringing the project full circle with one last burst of intensity.

Musser has said, “With this album, I’m finally beginning to realize my potential as a singer/songwriter who can write compelling songs and perform all the parts I hear in my head. It’s an achievement that’s been a long time in the making, the truest embodiment of myself, musically and artistically, to date.”

That sense of arrival is exactly what makes Sentimental Fever so compelling. Ben Musser has spent years building toward this moment, and with this album he delivers a work that feels honest, accomplished, and deeply personal.

Richard Ludmerer

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