Tom Henry

January’s always a great month to sweep back through the previous twelve and find the corners of the past year that were missed. Scattered among a plethora of EOTY lists and label recaps lie the gems that got overlooked and, being far from attached to reviewing things in the month they came out, I love a good catch-up. First up is a power pop treat so good I’m mad I missed it before my year-end round up. Tom Henry’s debut album was formed and forged in the classic traditions of the genre, nodding deep into the Memphis school and keeping its allegiances close to the jangle-heavy ‘70s. Produced by, and peppered with performances from 2025 golden boy Kai Slater (Sharp Pins, Lifeguard), the record’s straightforward approach feels in stark contrast to some of Slater’s more signature sounds. The pair make great foils, though. Songs to Sing and Dance To slips easily among some of power pop’s new heralds, feeling in easy company with Danny Ayala, Billy Tibbals, and The Lemon Twigs, though he swerves away from some of the more punk purveyors in favor of something softer.

Ayala’s recent release is a good companion piece. Like Ayala, Henry feels immersed in his well of influences but also able to synthesize them into something that feels familiar without photocopying the past. From the Phil Seymour swagger and Twilley-tuned attention to hooks, to the harmony-hung of heartbreak of “But I Loved Her,” the record is awash in an earnestness that’s always been a friend to power pop. As the second side opens up, Henry’s vulnerability becomes more exposed and his swoons dig deeper. Credit to Henry and Slater, the record succeeds not only on its songwriting, but on its enveloping production, pulling the listener into its arms with ease. Galloping keys, velveteen guitars and the ever swirling vocal harmonies cement this one as a classic. It’s about as deft a debut as you’re going to find, an overlooked gem from last year that deserves your ears.

Support the artist. Buy it HERE.