Album Review: Donovan Woods’ ‘Things Were Never Good If They’re Not Good Now’

JUNO Award-winning artist Donovan Woods returns with his eighth studio album, Things Were Never Good If They’re Not Good Now. The folk record features 11 songs and two bonus tracks. There is a distinct warmth to this album. The moving instrumentals paired with Woods’ raspy vocals create a homey atmosphere. Woods’ heartfelt songwriting offers an intimate look into his life, and invites us to reflect on our own.

“Rosemary” sets a strong tone for the album. The gut-wrenching lyricism introduces the listener to Woods’ unrestrained and unrelenting honesty. Woods discusses the incompatibility of his relationship, admitting to his role in the conflicting dynamic (“I am always in the way of what you’re wanting”). However, this confession does not signify the end of a relationship. Instead, Woods goes on to reference the future, and earnestly questions if this hopeful “someday” could become a possibility. (“But darling, can you wait ‘til then?”). Thus, Woods’ vulnerability is not an acceptance of defeat, but rather the only path forward.

The bright guitar in “116 West Main, Durham, NC” creates a vibrant, hopeful sound. Woods’ vocals are chill and laid-back, yet the song still pulls forward through its catchy lyricism. “It’s Been Like That For A While” features minimal production and instrumentation. However, the subdued vocal phrasing and guitar plucking makes the song very catchy despite its simplicity. The stripped-back arrangement mirrors the subject matter of this slice-of-life track which follows Woods’ reflections of the everyday. 

The lyrics and melody in “Living Well” are pretty elementary and repetitive, and it is at this point of the album that I wish for more variation sonically. However, the record regains momentum with the powerful instrumentals, passionate vocals, and fast pace of “Well Read” — easily my favourite track on the album.

In “Back For The Funeral,” Woods describes returning to his hometown following his friend’s overdose. Woods explores the concept of funerals as being unfortunate reunions. He acknowledges the collective guilt felt by him and his loved ones for viewing the experience as bittersweet. (“And we’ll pretend we’re all only sad / Because we’re back for the funeral”). Woods explains that he has not only physically returned to his hometown, but mentally as well — the funeral forces him to contemplate his own past and his own mortality. (“And we’ll laugh about all the young dumb dreams we had”). He discusses the sense of guilt felt when we associate funerals to ourselves, because his personal realizations and epiphanies come at the expense of somebody’s life. (“And I was hoping I would see you, and how fucked up is that / That somebody’s gotta die for us to call each other back”).

“When Our Friends Come Over” is a charming collaboration between Woods and Madi Diaz. Their vocals melt into each other beautifully. Woods paints a vivid depiction of a dinner party with his loved ones, illuminated by simple but meaningful observations. (“You put your hand in my hand cause we sit closer / If you keep your hand in my hand we’ll never get older”).

Woods’ songwriting abilities are definitely the backbone of this album. They are best highlighted in tracks like “Back For The Funeral” and “I’m Just Trying To Get Home.” He allows the listener to pick up on the subtleties that lie between his relatable descriptions of everyday happenings. The result is exceptional storytelling that captures the small nuances of life.