The Milk Carton Kids

On their seventh studio album, Lost Cause Lover Fool (due April 24 on Far Cry/Thirty Tigers), The Milk Carton Kids offer nine songs that, more than ever, invite listeners to lean in close and linger inside the small moments the record quietly magnifies. When Los Angeles–based singer-songwriters Kenneth Pattengale and Joey Ryan first emerged in 2011, they did so with a sound as unassuming as their “marketing” plan. They recorded their ten-songdebut, Prologue, with just their two guitars and two voices. They posted it online as a free download, sending the link to friends via email. Even amidst the foot stomps and hand claps carrying Folk into the mainstream, hundreds of thousands of people managed to find Prologue in that first year.

From the beginning, The Milk Carton Kids were more interested in precision than volume.“We were very conscious back then of trying to make our two voices sound like one thing,” Ryan recalls. “And we wanted our guitars to sound like one instrument too.” That instinct toward unity and understatement became the foundation of a career that steadily expanded without ever losing its center. Fast-forward fifteen years, through chaotic world events, a global pandemic and its aftermath. Through Ryan’s two children and Pattengale’s move to Nashville then back to LA, his bout with cancer. The pair went from darlings of the Americana Music Association Festival to hosting its annual awards show at Nashville’s Ryman Auditorium.

They started their own Sad Songs Summer Camp, helping songwriters dig deeper and darker through an intense workshopping process. They also founded the Los Angeles Folk Festival, spotlighting musicians and comedians in the broader Folk community. (In its first two years, the festival has featured performances by Emmylou Harris, Waxahatchee, Sierra Ferrell, Willie Watson, Valerie June, and more.) Along the way, the duo has received four Grammy nominations and their songs have been featured in numerous film and TV projects, from GusVan Zandt’s Promised Land to Tina Fey’s goofball comedy series Girls5Eva. They’ve collaborated with a who’s who of players from Joe Henry and Rosanne Cash to Sara Bareilles and Josh Ritter. Through all of it, The Milk Carton Kids have remained committed to a deceptively simple idea: music can help turn down the volume on a chaotic world and make room for what matters most.

Lost Cause Lover Fool is the clearest distillation of that idea yet. With roots-leaning arrangements and a deep trust in space, the album expands the duo’s signature minimalist sound while somehow making it even more focused.“ This album is, at its core, a collection of songs about transformation,” Pattengale explains. “About the shifting terrain of consciousness and the stories we build to understand who we’ve been, who we are, and who we’re becoming. Each song takes a single moment, sometimes examined with microscopic closeness and sometimes viewed from a great distance, and lets it expand until it becomes an entire world. By enlarging small feelings until they’re inhabitable, the record looks for eternity not in the sweeping or monumental, but in the intimate specifics that usually pass too quickly to notice.”

The record opens with “Blue Water,” led by the lonesome pluck of a banjo. Handled with restraint, the instrument feels less like traditional bluegrass and more like morning light cast across a stretch of grass. Lyrically, the song captures a fleeting image: a man walking along a river, thinking about the child who once lay on his chest and now shares his worried mind. It’s a moment so slight it could easily be dismissed, except that it holds an emotion as universal as it is brief. That instinct to pause, to hover, to honor passing thoughts runs through the entire album. The songs on Lost Cause Lover Fool live in interior spaces, where the act of noticing becomes a kind of devotion. The title track drifts through an unsettled internal monologue, its narrator caught between confidence and doubt as memory and worry begin to resemble one another. “Sometimes I’m tough / Sometimes I’m not enough / Sometimes I think of you,” Pattengale sings, as the song circle sits thoughts without resolving them. “A Friend Like You” recalls a roadtrip through Texas and New Mexico and the particular ache of sharing space with someone when the most important things remain unspoken.“Blinded and Smiling” compresses joy, love, and mortality into the instant it takes to snap a photograph, reckoning with how quickly even the happiest moments slip into the past.

“Young Love” closes the album by wondering what ever became of along-ago companion. As melancholy as that question might be, in The Milk Carton Kids’ hands it feels quietly illuminating, as though the riverside walk where the album began has led back into a clearing. The past may be painful to revisit, but letting the mind wander through it can also bring perspective and grace. Musically, the duo continues the subtle expansion of their palette. There’s banjo, drums, choral backing vocals, all pulling toward a unified center. Even as their arrangements grow richer, the goal remains the same. “As we're adding more and more layers,” Ryan says, “we're still drawn to the idea of a sound where the pieces give themselves up to the greater whole. ”At just nine songs, Lost Cause Lover Fool resists excess by design. Its brevity is not a limitation but a philosophy. A quiet argument for mindfulness, economy, and attention. In an age of constant noise and endless content, The Milk Carton Kids make a case for staying small, staying present, and listening closely. It’s what they’ve always done.

Lost Cause Lover Fool doesn’t strain for relevance or make a spectacle of itself. It simply pauses long enough for the listener to step inside. It reminds us, gently but insistently, that the smallest moments are often the ones that last.

The charm and mystique of Nashville folk duo Paper Wings lies in the striking harmonic rapport which shifts and shimmers like a silken banner between kindred spirits Emily Mann and Wila Frank. The long-time friends and co-writers weave stories personal and universal into their songs with a craftsmanlike steadiness delivered in two part radiance furnished with clawbammer banjo, fiddle, and guitar. Both instrumental and lyrical mavens in their own right, together they’ve formed a unique sound that echoes upon the bedrock of American folk while twisting the ear forward in moments of modern revelation. On their forthcoming album, ‘Mountains on the Moon’, Frank and Mann drive down the dusty backroads of troubles and triumphs with the resilience of two friends who have been through it all together.

With roots in Oregon and California respectively, Frank and Mann were raised over the turning century in rural post-back-to-the-land communities of the west coast. Sharing an adoration for the outdoors and playing the fiddle, they became friends at music camps and festivals growing up. They made their first demos as a band as young adults in 2015 which they sold on home-printed discs at various breweries, farmers markets, and house concerts along the pacific coast. Eventually, they made their way to Nashville where they recorded their debut album Paper Wings in 2017 and sophomore album Clementine in 2019 and garnered streaming success with their heartfelt track “Troubled Soul”. 

After a few years apart prompted by a worldwide pandemic and other projects taking their focus, the duo reunited in 2024 to release their third critically acclaimed album Listen to the World Spin. 2025 brought them to venues and festivals around the US and Europe, sharing bills with folk icons such as Emmylou Harris, Lucinda Williams, The Milk Carton Kids, and Watchhouse among others. They also found time to record their forthcoming album ‘Mountains on the Moon’ which is due to release on March 1st, 2026.