LUKAS NELSON : AMERICAN ROMANCE

1. Ain't Done
2. Pretty Much
3. Make You Happy
4. Outsmarted
5. Disappearing Light (with Stephen Wilson Jr.)
6. Born Runnin' Outta Time
7. All God Did
8. Montana
9. Friend in the End (with Sierra Ferrell)
10. The Lie
11. American Romance
12. You Were It

Label : 6 Ace Records

Release Date : June 20, 2025

Length : 43:26

Review (AllMusic) : Though American Romance is technically a debut, Lukas Nelson is hardly a beginner. Between 2008 and 2024, he was the leader of Promise of the Real, a ragged Americana band who sometimes backed up Neil Young on-stage and made records of their own that gradually grew to include elements of jam-band searching and danceable grooves amongst their twangy roots rock. As the son of country legend Willie Nelson, Lukas Nelson was born into his musical path to a degree, and while American Romance is his first solo outing, it comes after decades of work in his own lifetime, and under the incalculable personal and musical influence of his bloodline. All of that being said, there’s still a kind of first-go-round charm to these 12 tunes. Even though Nelson has penned dozens of songs at this point, the material on American Romance feels wide-eyed and at times even naïve. He sings about spending his best years touring and wondering if it's too late to reconsider his life choices on the excitable rocker "Born Runnin' Outta Time," but the song's eager energy and straightforward arrangement make it feel like the work of someone just starting out. The way the song wears its Tom Petty influence so proudly also makes it feel more like an openhearted work of nascent inspiration than something an industry-hardened career musician would make. Though Nelson's backing players are solid (and production from fellow country-rock footstep-follower Shooter Jennings is crisp), the absence of Promise of the Real's muscular, locked-in presence gives the songs a lighter feel and puts the focus more on the singing and songwriting. "Make You Happy" moves between airy, almost fragile verses and choruses that switch gears to the kind of groove-centered country-soul that PotR sometimes explored. "Outsmarted" is a grinning romp with bluegrass fiddle runs and spirals of pedal steel guitar carefully dialed into a supportive role beneath Nelson's lyrical narrative. The lyrics of the album's restrained title track write out picture postcards of scenes from growing up in the American heartland, "Ain't Done" adds a little bluesy pleading to the mix, and "Disappearing Light" is a reflective, plaintive ballad somewhere between Springsteen and Nelson's dad. Fittingly, the album ends with "You Were It," the first song Nelson ever wrote when he was just a child of 11. Knowing this aching and lovelorn closing number was written from the imagination of a youngster and not lived experience enhances its sweetness, and serves as a perfect summary for the album on the whole. With American Romance, Nelson tunes into feelings of expectancy, newness, and a nervous uncertainty that's endearing. He pairs these fresh-faced emotions with a craft honed during his many years in the trenches of the music industry, and the resultant songs are masterfully constructed yet still conveyed from genuine beginner perspectives.

Review (Americana UK) : Being the son of Willie means Lukas Nelson knows a little something about pedigree, and for his first solo studio album “American Romance”, he decided to up the stakes even more by hiring none other than Shooting Jennings – son of Waylon and Jessi Colter – to produce. But with legacy, there comes a level of expectation, especially given Nelson is not new to the music industry, having previously fronted his own band, Promise of the Real, for over 15 years, but if he’s feeling the pressure, it’s certainly not evident on the record. The opener ‘Ain’t Done’ makes it immediately clear that Nelson doesn’t take anything for granted: “God ain’t done with you / Every time you win, every time you lose,” he sings on the chorus of the song that’s vaguely reminiscent of The Band’s ‘Weight’ in its rolling musical tone, “There’s a guarantee with every evening sun / Nothing lasts and God ain’t done.” ‘Pretty Much’ swells dramatically from its acoustic start to become a rousing musing on death and the loved ones that we all hope will surround us when the time comes. Nelson is no slouch in the vocals department, and on Motown-leaning ‘Make You Happy’, his voice is really allowed to shine, especially hitting the high notes when he sings “Makin’ somethin’ / Out of nothin’ / ‘Cause there ain’t nothin’ / Like your lovin’” with unbridled soulful joy. With an easy, down-home porch jam about it, ‘Outsmarted’ isn’t somewhere you might expect a mention of Mad Men’s Don Draper, but still the reference feels comfortable as Nelson looks back on the wildness of youth: “Against my better nature / I went hog-wild, wasting paper / I was madder than Don Draper / Suckin’ in that holy vapor.” Stephen Wilson Jr. joins Nelson as a co-writer and co-vocalist on ‘Disappearing Light’, the only track on the album produced by Anderson East and not Jennings. It’s a piece of raw vulnerability and, even on first listen, an album standout. The pair’s vocals meld together perfectly as the song builds before getting to its final, heartbreakingly honest refrain: “I fear the disappearing light is mine.” The Tom Petty-tinged ‘Born Running Out of Time’ finds Nelson tired from the never-ending journey of a gigging musician, while on the gentle ‘Montana’, he croons of memories of a past love that he’s unable to forget. ‘Friend in the End’ looks at the often overlooked beauty of lifelong friendship, with Sierra Ferrell’s smooth vocals offering an added element of sweetness as she and Nelson harmonise on the chorus: “And the clouds blew south, and the rain thinned out / And the sky was all sunlight again / I guess I just found me a friend / I think I can call you my friend in the end.” ‘American Romance’ takes a sweeping, romantic look at small town life in the USA, Nelson’s voice moving and effective, its rise and fall matching the cadence of his words. If being the son of a bona fide country legend and having Jennings as his producer weren’t kudos enough, Nelson has none other than the late, great Kris Kristofferson to count as a reason he pursued a career in music. The album’s last song, the ballad “You Were It”, happens to also be the first song Nelson wrote at the tender age of 11, it’s a song that caught the ear of Kristofferson, who told him at the time: “You’re going to be a songwriter. You don’t have a choice.” Kristofferson was of course right, because it’s not birth that destined Nelson to be a musician, but talent, which is something far greater than any lineage.

Review (The Rocking Magpie) : Son of legendary country act, Willie Nelson, Lukas Nelson makes his solo recording debut with American Romance. Singer-songwriter Nelson started out in music in 2008, and ’til 2024 was touring and recording as A rock outfit, Lukas Nelson & Promise Of The Real. On this album he reflects on his relationship with the USA and things he’s seen during his life travelling the country, places travelled, the whole enchilada. Sharing these emotions and wisdom experienced Nelson on this leap of faith will take his popularity to another level. Musicians taking part include, Matt Chamberlain, Chris Powell (drums), Russ Pahl (pedal steel), Corey McCormick (bass), Marty Muse (dobro), Brian Wilson (acoustic guitar) and Eleanor Whitmore (fiddle). Coming from a musical family he has much to draw from, and young Mr. Nelson has clearly learnt to absorb from his time in the lauded company he’s been gifted with, as he’s been influenced by those he has been exposed to… how couldn’t he. But, at the end of the day, he is his own man and his songwriting alone illustrates he has something special to offer. American Romance is produced by the acclaimed, Grammy winner Shooter Jennings and Nelson says, “It’s been a long and inspiring journey with the band. This is an opportunity to experiment with some new colors in the palette, but we know we are always going to be there for each other. This album is the first chapter in a whole new era of my life as an artist. It’s a love story to the country that raised me”. Nelson has many attributes to call upon; he is a gifted songwriter and has the ability to turn heads with his vocal deliveries, and place an emphasis on a phrase most others are unable to present. Nelson opens with Ain’t Done; propelled forward by a stout rhythm, immaculate fiddle, harmony vocals and piano it offers true grit. ‘God ain’t done with you, from the time you are born to the time you’re through, there’s a guarantee of an evening’s sun, nothing lasts, and God ain’t done….. ’ The swirling sound embraces one’s heart and soul. Pretty Much has a forlorn feel. roaming like a wild mustang, Nelson’s music and the life he speaks of does too on this romantic ballad. ‘She bought a pair of steel-toed boots told me she missed you, said it might be time for you, to leave the city life, said I could follow you, but only if I wanted to.” One minute it soars with hugely effective acoustic guitars, keyboards and rhythm, the next it’s quite plaintive, making for an evocative mixture. Make You Happy enjoys a free and easy feel, reminiscent of Nitty Gritty Dirt Band’s Jeff Hanna on lead vocals as he spreads his wings, sounding like something from the West Coast Country of the 1970s, it flies high, like an eagle gliding on thermals. The flowing melody to Outsmarted, fiddle and pedal steel guitar and more is a gem. Vintage 1970s sounding, Nelson’s vocals as before are inviting, and there is also a refreshing sharpness present, I had to hear this a few times before I could move on… so good is the sound. Disappearing Light enjoys traces of his father on this spare production, with acoustic guitar the imagery strewn lyrics has him partnered with Stephen Wilson Jr. creating two distinctive, character filled voices that dovetail perfectly. At time a little raw, and unbending it carves a deep niche on an imprint for the listener to hang onto long after the music fades. What a dramatic track and superb performance from the band. Born Runnin’ Outta Time is a restless, travel fuelled pop rock affair with a bustling rhythm, and jangling lead electric guitar carrying it through without it registering to the extent of other cuts. Maybe, I may need to give it a few more spins. Californian country singer-songwriter fare of the 1970s comes to mind. All God Did sees Nelson dive deep into the song. ‘I fell into a wasted crowd and lured myself to drink, …all God did was smile a little bit’. Driven by acoustic, electric guitar, fiddle and bustling rhythm a mystical presence lingers. Montana captures the wide open spaces of the state, mountains and memories he can’t leave behind. No doubt it’s a place he has many happy memories, coupling its natural beauty combined with the love of a woman, he weaves his tapestry amidst tasteful pedal steel, piano and more. It’s a place he can never leave behind, a place he often revisits via fond the memories that are stored. Friend In The End features fellow singer-songwriter, Sierra Ferrell. A plaintive, beautifully woven song, their voices blend in effortless fashion. Albeit, her contribution could have been even greater (given more space) alongside some exquisite dobro, pedal steel, acoustic, electric guitar and a neat shuffling rhythm Nelson’s picturesque lyrics reach out to the listener. Sublime and it contains some of his finest vocals. On The Lie the music vies towards something Levon Helm (The Band) could well have created. Just listen to the drums and chugging rhythm, never mind the pedal steel, fiddle, piano and electric guitar. He sings, ‘You’re defined by what you do, no one ever made it staying at home with the kids’, …. ‘people might talk about you when you’re dead and gone, if you can’t see that you don’t belong’. American Romance likewise contains something special. His no nonsense vocals snap in like, the sound heard on cracking open a beer. Nelson’s ability to scrape back the veneer, and display the goods in all their natural beauty is genial. Album closer, You Were It has the stripped back production feel and qualities akin to that of his father’s work; simple solo guitar, soothing lyrics and a voice that’s strong and reflective… enough to carry any story. Lukas Nelson is very much ‘his fathers son’ but as the years have gone by he’s created his very own groove in the music world; and this album seems likely to make people forget the links that his surname provides.