As a band, Wild Rivers have never been better. This goes double for the band as individuals, even as they settle in different cities and grow into themselves as adults. Together since college, Devan Glover [vocals], Khalid Yassein [guitar, vocals, keys], and Andrew Oliver [lead guitar] have put down roots in new places and tackled coming-of-age obstacles. After nine years together, they’ve always found their way back to each other, rather like a marriage. And that’s why their new, forthcoming album, the follow-up to 2022’s folk-rock triumph Sidelines, will be called Never Better.


An earnest, soul-baring look at where they’ve been and where they’re going, Never Better (co-produced with Gabe Wax, who has previously worked with The War On Drugs, Soccer Mommy, Adrianne Lenker, and Jeremy Zucker) showcases Wild Rivers’ joy around being together, particularly after they’ve faced burnout, mental health challenges, and extended periods away from home, among other things. “Being in music is like a deal with the devil,” Khalid says of band life. “You have to give up so much, but you have the opportunity to have the richest experiences of your life. You have to ride the wave and not put too much weight on the highs or the lows. It took us a long time to learn, but that’s a real mindset shift for us.”


Recording in Joshua Tree, Devan, Khalid, and Andrew initially set out to just unplug, reconnect, and rediscover the beauty in creating. Soon, they realized they potentially had a new record on their hands—the results of which appear on Never Better, an album that finds Wild Rivers letting go of their studio-perfectionist tendencies and capturing the energy of their uninhibited live shows. “We used to think it was important to be precious,” says Devan. “I used to take five hours to record a vocal and not be happy until it was perfect. Now I think we're more instinct-driven. I realize now that it’s  actually much more of a skill to be able to do four takes and be like, ‘that's the one,’ because the feeling is there, even if it isn't technically perfect.”


For Never Better, Wild Rivers reimagined their studio process, recording a number of elements live off the floor. “We actively wanted to have a lot more fun making this record,” Andrew adds of recording as a live band. “It's way more enjoyable to record songs all together and be able to see each other laughing and reacting to moments, rather than slowly building it up one little thing at a time where someone goes into a room by themselves. We wanted to maintain that connection the whole time.” 


As they look to the future, Wild Rivers are placing a new emphasis on finding balance and taking care of themselves on the road. Devan says. “We’ve gone through really difficult times, mentally, and the strain of being on tour can take a toll. Mental health has always been top of mind for us, and we want to find that balance for ourselves and help other people with the issues that we're struggling with."


Wild Rivers’ effortless synchronicity shines through on the gorgeously harmonized anthem “Everywhere I Go,” which builds from a piano-based jog to a full-fledged sprint with propulsive drums and shimmering keys. "I was thinking about my grandpa, who I was very close to. He passed away a few years ago,” Khalid says. “He was the only other musical person in my family. We used to sit at the piano and play together. He was one of the funniest people I've ever met. I was thinking about how something benign can remind you of someone who's gone and how it can elicit a powerful emotion. It’s the positive feeling of holding on to a memory of something that's inherently sad but beautiful and uplifting.”


Elsewhere, on the swaying “Cave”—pieced together in Nashville and London —Wild Rivers sing wanting something regardless of consequence. “It’s about caving to temptation,” Andrew says. “The temptation being something you know might not be the right thing, but you’re down to just give into it.”


Similarly, the bright and cheery title track gives itself over to the thrill—and risk—of romance. "We have so many breakup songs—so many heartache, pouring-our-souls-out songs," Khalid says. "We are in our 20s, we've had fun experiences and made mistakes in life. The concept of the song is when you're in a messed-up, secret hookup situation. And someone asks 'How's it going with this person?' And you say, 'Never better.' It's a tongue-in-cheek reference to romantic chaos and throwing caution to the wind."


Finally, of the earnest piano ballad “Backfire,” Devan says, “The demo I made was piano and vocals, and the band had the idea to make it more crunchy guitar, lean slightly more '90s, which I never imagined when writing it. It's more story-based. It's more of a build. It felt like what we have done best up until this point. It feels like a bridge from what we've been doing to the new era.”


Khalid adds, “As soon as I heard ‘Backfire,’ I was like, ‘Oh, this is completely Devan as a person. I just believed every moment of it. Vocally, you can hear that. We were all moved by that. It's one of our favorites of the record. It’s really emotional, really unabashed.”


Just as Wild Rivers move from one exciting stage of their career to the next, they are very much still figuring out what it means to grow together. Their journey, filled with peaks, valleys, and everything in between, has never been more beautiful to witness.

What's next in music is first on SoundCloud.

'Big Hurt Boy' is out now: https://linktr.ee/donovanwoods

Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

“I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.”

Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone.

That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying to capture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life.”

“These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million.

Still, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjo, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had,” Woods says.

“I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them, so you twist yourself into knots.” 

Big Hurt Boy is the follow-up to 2020’s Without People, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods.

As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark, Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson (Barenaked Ladies).

Each of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genre.

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