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The album’s title track “The Party Is Over”—one of Wade’s older songs—is a crashing anthem about attraction that lingers long after the intoxicants wear off, while the lead single “East Coast” takes those fixations to an extreme in its depiction of a relationship that pushes someone to the edge. “High in Your Apartment” offers a searing account of a loveless hookup amid a troubled sea of guitar noise, and the album-closing “Hardwood Floor” chronicles a woman’s agonizing struggle to become a mother.\u003c\/p\u003e\u003cp\u003eWade does all of this while moving through musical styles with ease. She sounds perfectly at home on guitar-heavy tunes like twang-punk scorcher “Candy from Strangers” and the stormy grunge number “Songs I Won’t Remember,” but she’s equally capable of delivering tenderness and vulnerability, as with the swirling R\u0026amp;B in “Parking Garage” or acoustic strums of “Stay.” What’s more, she does all of it while sounding like no one else and speaking her mind. 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Out August 23rd, 2024 on her own label Love Big via Thirty Tigers, the album only builds on the runaway success of her debut original single â€œSuburban Outlawâ€â€”a song Holler praised for \"lyrics that land like zippy teen movie one-liners.\"\u003c\/p\u003e\u003cp\u003eRaucous, witty, and irresistible, album opener \"Johnny Moonshine\" shows off Antoneâ€™s flare for storytelling one croon-worthy double entendre at a time. On the timeless \"Mess with Texas,\" Antone leans into her honky-tonk sensibilities, playfully recounting the exes she collected across various locales before landing on the real thing in the Lone Star State. And standout track \"High Standards\" contrasts evocative harmonies with biting wordplay, delivering a blunt tell-off to a presumptuous stoner on a late night gone hazy. The clever lyrics and catchy melodies make fitting vessels for Antone's larger-than-life charisma and natural stage presenceâ€”qualities she'll show off on the road this summer during gigs with Kat Hasty, the Red Clay Strays and 49 Winchester as well as on stages at Bonnaroo, Bourbon \u0026amp; Beyond, and Foxfire.\u003c\/p\u003e\u003cp\u003eBut for all the hard-partying lyrics and self-deprecating jokes, Antone's biggest strength on Rhinestoned may be her willingness to show weakness. \"I don't write love songs,\" she sings on \"Everyone But You,\" \"'cause I don't wanna sing 'em when the love is gone.\" The slow tempo of \"I Don't Wanna Hear About It,\" a heartbreaker that mourns a breakup even while wishing the person well, lays bare Antoneâ€™s emotional vocals. And Antone is perhaps her most raw on the closing track, \"Meant to Meet,\" a song about the vices and shortcomings that can wreck a relationshipâ€”even one that feels fated.\u003c\/p\u003e\u003cp\u003e\"With situationships and such nowadays, it feels like no one is looking for the real thing anymore,\" she says. \"This album, and that song specifically, is for the people who didn't get the â€˜I'm sorryâ€™ text. I want it to be closure for people who need it.\"\u003c\/p\u003e\u003cp\u003eIn some ways, opening up like this comes naturally to Antone; she's been writing songs since she was 16. But she's quick to credit her collaborators in the studio and the writing room for the way they've embraced and emboldened her. While several songs were solo writing endeavors (\"Suburban Outlaw,\" \"One Too Many,\" â€œMe \u0026amp; Jose Cuervoâ€), Antone leaned into co-writes: Trent Dabbs (Ingrid Michaelson, Kacey Musgraves), Aaron Raitiere (Lady Gaga, Ashley McBryde), Jillian Jacqueline (Keith Urban, Little Big Town), and others all contributed.\u003c\/p\u003e\u003cp\u003eWorking with longtime writing role model Natalie Hemby (the Highwomen, Miranda Lambert) on â€œJohnny Moonshineâ€ was a particular high point: \"Natalie is my hero,\" Antone says. \"She's the first songwriter that I ever truly loved.\" And frequent writing partner Carrie K. 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River sings, “If lovin' you will always be a crime I'll always be a criminal.” It’s a triumphant line that highlights Shook’s emotional sturdiness. “That line got me thinking about how we as queer people have been persecuted, and how we so often have to keep all kinds of things under wraps because of the law because of social taboo,” says Shook. “I wanted “Criminal” to portray these feelings of longing and desire that two gay people can have for each other. They're complicated feelings because human beings are complicated. Gay love is every bit as complicated as straight love.” \u003cbr\u003e\u003cbr\u003eRevelations is the most assured Sarah Shook and the Disarmers record yet because it so pointedly captures the gamut of the human experience: anger, sadness, confusion, love, and acceptance. 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