Larkin Poe return with Bloom, a record that marks another step in the evolution of the Lovell sisters’ sound. They’ve fine-tuned their blend of Southern Rock, Blues, and Americana, making it both tighter and more polished, yet never losing the raw edge that has always defined them. Rebecca’s voice is up front in the mix, and every nuance of her delivery rings clear. Megan’s slide guitar work remains as sharp as ever, and the production allows the guitars to breathe, letting their interplay feel effortless. Bloom is bigger, bolder, yet grounded in authenticity—a step forward that feels both natural and exciting.
Mockingbird kicks things off with a hard-driving, mid-tempo rhythm that sets the tone for the album. There’s a bit of that Blackberry Smoke swagger, with swirling guitars and a Hammond organ filling out the sound. It’s the kind of track that feels made for the stage, steady and strong, with a groove that pulls you in from the first note. The song builds momentum, and by the time it hits the chorus, you’re already hooked, ready to ride along.
Next comes Easy Love pt. 1, which shifts into a groove reminiscent of AC/DC, with that raw, infectious energy that demands your attention. It has a bit of a ’90s Stone Coyotes vibe, but of course this is all Larkin Poe. Rebecca’s riffing complements Megan’s smooth slide guitar work, especially in the B-section, where the two bounce off of each other. The chorus hits with such intensity that it’s impossible not to stomp your feet, and it’s the kind of anthem that’ll stick with you long after it’s over.
Little Bit begins slowly, almost like a ballad, but as the guitars weave together in harmony, you’re taken back in time, feeling the warmth of nostalgia. Megan’s solo, though brief, is a perfect example of restraint, serving the song’s emotional core without overwhelming it. Some might wish for more, but what Megan delivers is more than enough—it’s delicate, simple, and effective.
Bluephoria follows with a heavy, riff-driven opening that grabs your attention immediately. It’s a track built for live shows, with a build-up of energy that pulls back only to surge forward again, anchored by Megan’s fierce solo. The organ adds texture, adding an extra layer to the track before it returns to the heavy riffage. This song feels like a whirlwind, moving quickly but with purpose, and it’s impossible not to get caught up in it.
In Easy Love pt. 2, the same song takes a slower, more reflective turn. Stripped of the earlier track’s bombast, this version allows the emotional depth of the song to rise to the surface. There’s a quiet intensity here, and Megan’s solo builds gradually, softening into something deeply moving before surging again. It’s a beautiful, measured reimagining of the original, showing the band’s ability to take something familiar and give it a fresh emotional weight.
Nowhere Fast picks up the pace once again with a fast, hard-rocking honky-tonk rhythm that feels both raucous and rebellious. There’s a punky, Southern rock energy here, calling to mind a dive bar full of energy and chaos. Megan’s wah-wah-drenched solo brings the track to a frenetic peak, and it’s the kind of song that begs to be heard live—loud and in your face.
If God Is a Woman takes us into bluesier territory, with a swampy, mean groove. The sisters trade licks throughout the track, their contrasting styles blending together perfectly. The production shines here, allowing every note to resonate clearly, giving you space to appreciate the intricate details of their playing. It’s a track that breathes with tension and release, building a slow, powerful momentum as it unfolds.
Pearls is another anthem, this time with a boogie feel that drives forward with confidence. Rebecca’s scream of “I don’t want your Peaaaaarrrrls” rings out with a defiant energy, and the backing vocals during the chorus add a touch of extra bite. This track is all attitude, a celebration of empowerment and rebellion, and it’s impossible not to feel the power behind it.
Fool Outta Me shifts the tone again, offering a bouncy, country tune with acoustic guitars making their first notable appearance on the record. Rebecca’s voice carries the weight of the lyrics with intensity, and the stripped-back arrangement lets her shine. The simplicity of the song allows for a moment of reflection, but it still has the emotional punch to hit hard when it needs to.
You Are the River takes us into slower, more soulful territory with a Stonesy vibe that recalls the mood of Exile on Main St. Megan’s solo is understated, simple yet profound, carrying the song’s emotional weight. The vocal harmonies, subtle yet present, add a richness that fills the space between the notes. The outro, where the sisters trade off, adds a beautiful touch—hinting at the kind of magic we can expect when they take this track to the stage.
Finally, Bloom Again closes the album with a track that blends Soul and Country in a way that feels timeless. The addition of a violin adds a delicate touch to the song’s melody, which builds and falls in waves, giving the track an epic, dynamic quality. It’s a beautiful, sweeping conclusion to an album that has ranged through so many different moods, all while keeping its heart firmly planted in the soul of Larkin Poe’s music.
Bloom is a record that will resonate with rock, blues, and guitar fans, but it’s more than that. The songs here are accessible, yes, but they never lose the soul of what makes Larkin Poe who they are. It’s an album that feels like a natural step in their journey—a record that feels both expansive and deeply personal. They’re ready for the next chapter, and Bloom proves that this next chapter just might include mainstream success.
Larkin Poe will return for a few French dates in the fall, including a Paris show at Salle Pleyel.