It’s no surprise that Spotify’s Rich Owen radio combines the likes of Ned LeDoux, Toby Keith, and Zach Top. Owen’s third album, Redline, exhibits a range of classic country sounds yet retains his signature approach. Throughout the twelve tracks, this Missouri native, and United States Air Force veteran, is not shy about what matters to him: faith, freedom, and family.
“Redline,” the title track, is an energetic opener that combines the sounds of a racetrack with the twang of a well-played banjo. It’s an unexpected mix, but it works and speaks to Owen’s novelty as an artist. He’s not afraid to “push the redline” and deliver the unexpected. Each track takes the listener somewhere new as Owen alternates tempos and storytelling styles.
The second track, “Good and Gone,” is my personal favorite on the album. It delivers that sweet, sad 90s heartbreak sound. However, per the artist’s style, it manages to feel both familiar and fresh. The refrain “You took the good out of good and gone” captures this technique well.
“Line Dance King,” the subsequent track, picks the energy right back up. It’s a song that is made to be sung aloud at a bar, surrounded my good company. It’s hard to listen to it and not want to dance to “that honky tonk beat” (“Line Dance King”).
In addition to fun tracks like these, Redline showcases Owen’s ability to tell a compelling narrative. There’s grief in tracks like “Unbreak My Heart,” desire in “Ozark Angel,” and lighthearted love in ode’s like “Ordinary Girl.”
There is also a shift about halfway through the album, where the songs take on a more earnest approach. “A Line In The Sand,” in the style of Mark Wills’ “Don’t Laugh At Me” (1998), asks the listener if they stand up for the vulnerable or “think it’s someone else’s problem.” Owen implores, “You can be the one who acts to save a breaking heart…stand for the innocent and the weak, the forgotten and the meek” (“A Line In The Sand”). This solemnity is also reflected in the track “All God’s Children” as Owen considers the divisive state of the world. He urges people to look past their differences and recognize that “we’re all God’s children.”
Wisely, the final track “That’s the Fun” echoes the opener. It’s upbeat and helps to boost the listener’s mood after a few more somber songs. “That’s the Fun” reminds that the simple things—like music and bonfires and love—are what count.
Ultimately, the expert arrangement of Redline ensures that neither the melancholy nor the moralization lasts too long. It’s a well-balanced record that demonstrates an artist’s growth. While Rich Owen may have arrived late to the music scene, Redline promises that he and his band have much more to give.
Reviewed by Anelise Haukaas