Thank You, Covid: Ten Pandemic-Inspired Albums

Musicians, like the rest of us, were forced by the coronavirus to hunker down, reassess, and find ways to carry on. Indeed, this group faced more burdens than most. Touring, a chief contributor to their livelihoods, became untenable. So did recording in the close confines of a studio. Even rehearsals were a dicey proposition in the early days of uneven vaccine availability.

Yet despite—or perhaps because of—these limitations, the pandemic sparked a creative surge. Some quarantined musicians used the time to reexamine their own material, or that of their idols. Others, homebound and forcibly-introspective, wrote new songs that captured both the pain of separation and the nostalgic joy of togetherness. They explored what it means to be alive, and which aspects of life are most meaningful. 

In a way, though, that was the easy part. After all, writing has always been a predominantly solitary exercise requiring no accessories other than a pen. The pandemic didn’t change that. The hard part would be bringing the material to fruition and conveying it to a waiting audience.

The most common solution was to record the new music at home. In most cases, that meant a streamlined arrangement and the artist taking on multiple instrumental duties. What emerged from these sessions was music reduced to its essence. 

Meanwhile, for quite a few musicians the same situation that limited production options proved creatively liberating. Without producers, engineers or even bandmates to say otherwise, these artists could do whatever they wanted. They responded by exploring new, sometimes radically different musical directions. 

Below are ten standout albums inspired by and created during the pandemic.   

John Fogerty: Fogerty’s Factory. This unpretentious album is, like Tweedy’s Love is the King, a family affair. But rather than write new material, John Fogerty turned to his own catalog, along with a few personal favorites by others. The Creedence songs sound like CCR shorn of drums. No matter; Fogerty’s rhythm guitar is a propulsive force. The versions here have a laid-back charm missing from the originals. The covers, such as Arlo Guthrie’s “City of New Orleans,” are also highlights.

Richard Thompson: Bloody Noses (EP). Of all the artists on this list, Richard Thompson was perhaps least impacted by the coronavirus. The man’s entire storied career was built on emotional introspection and solo acoustic performances. The six-song Bloody Noses, “recorded at home during lockdown,” is resplendent with Thompson’s trademark wit, soulful singing, and whiplash-fast guitar work. Sound quality is excellent, too. 

Sufjan Stevens: The Ascension. A home recording, yes. But The Ascension isn’t acoustic. Instead, Stevens enlisted a phalanx of synthesizers to build a layered, dreamlike sound. The lyrics are among his most personal, as he unflinchingly faces doubts about his own—and by extension our own—behavior and spirituality. The music isn’t always initially approachable; but, given time, the album reels you in and never lets go.

Taylor Swift: folklore. For Taylor Swift, the pandemic was an opportunity to reveal a different side of herself. There’s no pop diva on this record, nor are the songs over-produced electronic ditties. Instead, we find thoughtful, intimate, mature music sung with unadorned vocals and acoustic accompaniment. It’s a revelation, and the sonics are superb. 

Fiona Apple: Fetch the Bolt Cutters. Apple has been increasingly experimental with each album, and here that trend reaches its apex. Songs are oddly structured. Lyrics are often inexplicably repetitive. The rhythm section consists of “found” instruments (like garbage cans). Yet each track eventually divulges its internal logic and grows in power. 

Jeff Tweedy: Love is the King. When it came to recording a trove of pandemic-inspired material, Jeff Tweedy had it easier than most. Though deprived of his usual band, Wilco, his family “pod” included a drummer son and a harmonizing daughter. Tweedy does the rest, and the group really clicks. Recorded in Wilco’s private studio, this masterful collection features demo-caliber sound.

Paul McCartney: McCartney III. What better time than during a pandemic for Paul McCartney to record the latest self-titled album wherein he plays all the instruments and handles all the arrangements? Unlike the sparer albums on this list, McCartney III is a full-blown, thoroughly satisfying production of a terrific collection of songs. It’s McCartney’s best album in a long while.  

Bruce Springsteen: Letter to You. Here we have an outlier. Letter to You is neither solo (Springsteen assembled the entire E Street contingent) nor acoustic (see previous remark). Nonetheless, perhaps due to having been recorded live in Springsteen’s home studio, the album is strikingly immediate. Surprise: the pandemic yields an essential Springsteen release.  

Emma Swift: Blonde on the Tracks. Afflicted with depression and writer’s block, this sweet-voiced Nashville-via-Australia singer/songwriter decided to cure her blues by recording an album of Dylan covers. The selections wander through his entire catalog—not just the oldies or hits. Each song is given a supremely sensitive vocal interpretation and a spot-on arrangement played by some of Nashville’s best.  

Nick Cave: Idiot Prayer. The most pared-down album on this list, Idiot Prayer features Cave alone at a piano on the stage of London’s Alexandra Palace. The album (and an accompanying film) were recorded live in a single take, delivering an intimacy that’s only enhanced by pure sonics. Cave’s voice is deeply somber, and the songs, taken from Nick Cave and the Bad Seeds’ back catalog, are gut-wrenchingly emotional. The effect is entrancing, beautiful, and strangely transporting.