Album Review: Weary Ramblers — 'Driftwood'

For Iowa duo Weary Ramblers, music isn’t just what they do — it’s how they stay connected in a world that often demands too much from body and spirit. Their new studio album, Driftwood, released October of last year, is a portrait of two artists who have found sanctuary in their musical partnership.

Singer‑songwriter Chad Elliott and multi‑instrumentalist and songwriter Kathryn Severing Fox describe Driftwood as a kind of travelogue, chronicling years of touring, friendship and vulnerability.

“They’re like little journal entries,” Fox said. “Glimpses of our lives, our relationships, our fascination with nature — it’s all connected.” Elliott picked up the thread: “I love the idea of that driftwood image, finding currents, running into obstacles, then flowing on. The songs are those places where we landed.”

The album captures that wanderer’s spirit with lush production and emotional depth. Fox’s musicianship stretches wide — violin, viola, mandolin, piano and vocals — while Elliott grounds each track with acoustic guitar and harmonies that ache with soul. Together, they create what they call a “third voice,” a blend that is greater than either alone.

“We drop our egos at the door,” Fox said. “It’s not about ownership; it’s about presence.”

Produced in Des Moines by Bryan Vanderpool at Golden Bear Records, with co‑production from Elliott and Fox, Driftwood features a hand‑picked cast of collaborators: Sam Bush adds mandolin and harmony vocals to “Kentucky Never Seemed So Blue” and “Memphis, You & Me”; Vanderpool contributes drums, percussion, harmonies and upright bass; Stephy Graham holds down the bass on several tracks; Eric Heywood lends pedal steel’s open‑sky shimmer; Tanner Taylor brings B3 organ and piano warmth; and Seth Hedquist adds both slide and flat‑picking guitars. The haunting orchestration on “Hang On” comes from Jeremy Fox, who also joins the couple for a round of rhythmic clapping on “Memphis, You & Me.”

Recording in Vanderpool’s basement studio offered all the sonic polish of a high‑end space — without the sterility. “You walk in and it feels comfy,” said Fox. “But he’s got top‑tier gear and this wild genius for getting the perfect sound. He’s quick, intuitive and he loves the music.” Elliott agreed: “That excitement is what you want in a producer — someone who cares as much as you do.”

The warmth of that room radiates through every track — from the longing tumble of “Until Further Notice” to the easy sway of “Roll On, Rose.” Each song bears the mark of shared life: moments of healing, stretches of grief and the deep care that binds two artists who have both weathered physical pain and found solace in song.

Recent accolades affirm the duo’s resonance beyond Iowa: the Josie Awards’ Americana Song of the Year, presented at Nashville’s Grand Ole Opry, and an International Acoustic Music Awards Duo/Group win. Most recently, the group kicked off their year with the top prize in Champions of the Blues Foundation’s 2026 International Blues Challenge for Best Solo/Duo. Elliott also won top awards for his guitar playing.

The recognition, they say, is secondary to the sense of community that keeps them going.

Worth a thoughtful listen, Driftwood is a record of grace, grit and gratitude. It’s music shaped by a partnership seeking to find the currents that connect us all.