Photo of Fust by Charlie Boss
Americana is undergoing a sparkling revival; songs of the heartland are thriving. From MJ Lenderman’s rocky renaissance in his recent Manning Fireworks to Zach Bryan’s winsome Great American Bar Scene, which includes a Bruce Springsteen collaboration, country fans are more than satisfied. This exciting growth is intertwined with a platform for burgeoning new artists to seize control of their futures. One such artist is Fust, a “dirty Southern” outfit creating music with Dear Life Records, the divergent label that supports artists like the aforementioned MJ Lenderman and Wednesday. Fust’s new album, Big Ugly, details the experience of lead singer Aaron Dowdy’s visit to his grandmother’s childhood neighborhood in southern West Virginia.
Beginning with the meaty guitars of “Spangled,” Big Ugly marks a change from Fust’s previous quieter and more reflective music. A streaming-eyed, beer-fisted ballad, this reference to the national anthem welcomes listeners to a new sound. If finding beauty in the backwater of America is this album’s goal, it is begun well.
Progressing to “Gateleg,” the album draws listeners into Dowdy’s account of Maggie’s Place, a small-town dime store. This song articulates the story of hometown love, assailing the senses with some old-fashioned southern twang. Once the instrumentation comes crashing in, the ballad swings into full force. Thankfully, Dowdy allows room for the guitar riffs to breathe. Speaking about never leaving a hometown, this song feels like redemption.
“Doghole” plays like a return to Fust’s earlier, more reflective music. With additions from Liddy Rodenbough’s fiddle that are reminiscent of the soundtrack from Wim Wender’s Paris, Texas, listeners are again drawn into Dowdy’s everyday. While living in a doghole would be unpleasant, listening to a song about one is a far better experience.
“Mountain Language’s” distortion is a far more exciting experience. This song truly is all about the layered guitars, forcing listeners to wonder whether or not the mountain language Dowdy is discussing can be pronounced by humans or only screeched through an electric six-string. Asking a question about “What country friends, is this?” this shoehorned political statement feels too understated.
“Sister” slows down the album. With understandably detached lyrics, this song eases listeners into a world of sleep, light replacements, and staying in bed. Accompanied by Rodenbough’s fractious fiddle, this song demonstrates a masterclass on how to musically freeze time. This is another return to Fust’s earlier albums. As Rodenbough becomes more playful in the closing moments, listeners will eagerly await what’s next.
“Bleached” is more straightforward. One of the singles from the album, its classic verse-verse-bridge-chorus structure lulls listeners into a false sense of acoustic security. With the refrain of “boring angels,” listeners will wonder where “Cory” ended up on the “national dirtway.” Thanks to Dowdy’s songwriting, this tune feels incredibly personal.
Immediately, “Goat House Blues” is far livelier. Perhaps this song is far too country to be a distinctive single, but paired next to “Bleached” listeners will be relieved to be out of the “Goat House Blues” with Dowdy. The layered lyrics and meaty guitar solo revive the audience and force Dowdy to momentarily quiet his anxieties.
“What’s His Name?” opens with little instrumentation and Dowdy inquiring about someone he is jealous of. At least Dowdy’s self-awareness shines through lyrically, as the fiddle and steel-pedal guitar form a quartet with Dowdy and Rodenbough’s voices. The song ends a little too soon, feeling a bit like filler on the album.
Talking about loving someone even when they’re “messed up,” and learning “how to drink,” the blue-collar song “Jody” cannot be listened to without some light head bobbing. This love story enthralls listeners, as we discover the inner-workings of our singer’s reliable relationship. Adorned by fiddle and a driving combination of acoustic and electric guitar, this tune feels more southern than the others. Using surprisingly familiar aphorisms, Dowdy’s lyrics (especially “pass-out time”) are refreshing.
“Big Ugly” feels more like a solo Dowdy number than other songs on the album. Incredibly well-sung and strikingly played, this Dowdy and Rodenbough fiddle duet is over too soon.
“Heart Song” begins with the combination of lap steel guitar and Dowdy’s metallic voice which sucks audiences through a warm embrace. Dowdy’s effortless questioning brings the album nicely to a close. Here, audiences will be asking for more, as a guitar solo closes Big Ugly.
Within this day and age, Dowdy’s goal of writing an album of delving through the meaning of being from the South lacks a certain delicacy. Dowdy’s songwriting is filled with miniscule phrases and aphorisms, occasionally reframed as questions. Some moments in the songwriting absolutely shine through, but a fair amount of the lyrics are too plain. Perhaps Dowdy is too serious throughout this album, as his love for the South overpowers his sense of humor. In comparison to the band’s musicianship, Dowdy’s lyricism falls somewhat short. Juxtaposed between his impressive goals of connecting “present squalor,” to “the promise of the future,” Dowdy’s lyrics are too accessible. Dowdy’s goals themselves are admirable, yet incredibly difficult to reach. Unfortunately, his aloofness and detachment prevent this album from taking off into the proverbial musical stratosphere.
On the whole, this album feels like a heartfelt homage to a little-known hometown. As it is artfully produced and incredibly well-played, more people need to be tuning into Fust’s work. Ideally, Dear Life Records will continue to support these “dirty Southern,” bands, as they bring light streaming through the windows of the storied southern mansion of americana. | Joe Hindle
Big Ugly will be released on Friday, March 7th. The band is on tour this Spring, including a date in St. Louis at the Sinkhole on April 15th. Full tour itinerary below:
03.28.25 – Athens, GA @ Flicker Theatre
03.29.25 – Richmond, VA @ The Camel
04.01.25 – Silver Spring, MD @ Quarry House Tavern
04.02.25 – Philadelphia, PA @ Johnny Brenda’s
04.03.25 – Medford, MA @ Deep Cuts ^
04.04.25 – Manchester, VT @ Billsville ^
04.05.25 – Brooklyn, NY @ Union Pool
04.06.25 – Hudson, NY @ The Half Moon ^
04.08.25 – Pittsburgh, PA @ Bottlerocket Social Hall
04.09.25 – Chicago, IL @ The Hideout *
04.10.25 – Minneapolis, MN @ 7th St. Entry *
04.11.25 – Northfield, MN @ Carleton College *
04.12.25 – Davenport, IA @ Raccoon Motel *
04.13.25 – Bloomington, IN @ The Bishop *
04.15.25 – St. Louis, MO @ The Sinkhole
04.16.25 – Louisville, KY @ Zanzabar #
04.17.25 – Nashville, TN @ The Blue Room at Third Man #
04.18.25 – Knoxville, TN @ The Pilot Light #
04.19.25 – Carrboro, NC @ Cat’s Cradle – Back Room #
04.23.25 – Chattanooga, TN @ Cherry Street Tavern
04.24.25 – Greenwood, MS @ Hush Puppy Music Co-op
04.25.25 – Birmingham, AL @ Woodlawn Theatre
04.26.25 – Charlotte, NC @ Tipsy Burro
^ Dead Gowns
* Merce Lemon
# Styrofoam Winos
