Es klingt frisch emotional, egal ob das Paar einzeln oder getrennt singt.​ [.​.​.​] Bei Peterson & Cowsill ist das Feuer längst nicht erloschen!

(GoodTimes, August/September 2025)

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“Long After the Fire,” released April 18, 2025, marked the long-anticipated debut from Vicki Peterson and John Cowsill. Known respectively for their roles in the Bangles and the Cowsills, the duo pulls from deep familial and creative wells to resurrect a cache of songs written by John’s late brothers, Barry and Bill Cowsill. It is an album steeped in personal history, musical reverence and the warmth of lived-in artistry. What emerges is not what one would consider a traditional ‘tribute album,’ but rather a richly interpreted work of preservation and renewal, which was done with a clear attention to detail and care for the songs.

Produced by Paul Allen, who is known for his Americana sensibilities, the album is grounded in naturalistic textures. Pedal steel, warm electric guitars, brushed drums and minimal keyboard fills give the songs space to breathe. The arrangements on the album are incredibly clean and polished, built to elevate the vocals and serve the storytelling within the lyrics. “Long After the Fire” thrives on its restraint; it doesn’t chase sonic bombast or novelty. Instead, it leans into atmosphere, memory and an almost familial musical shorthand between its performers.

Opening track “Fool Is the Last One to Know” wastes no time in establishing tone. A shuffle-beat rocker driven by twangy guitars and confident vocals from John, the track lands somewhere between Buck Owens and early Dwight Yoakam. It’s a bright, confident entry point. Every aspect, from the instrumental to the backing vocals, has an amazing country energy to it. Being a country music fan, I really appreciate hearing this style in 2025. Plus, the song has a great guitar solo about halfway through that was a real treat to hear upon first listen.

“Vagabond” follows with a shift in tempo and tone. A pedal steel-soaked meditation, the arrangement is subtle, letting the story unfold in well-timed phrases and instrumental restraint. Continuing the allusion to country classics, the song reminds me of “Troubadour” by George Strait. The storytelling in this song is phenomenal, and I feel that, out of any other song on the album, this is one that fits John’s vocals perfectly. There is something about the texture of his voice specifically that makes the vibe of this song work so well.

Up to this point, John’s vocals have been the focus of the album. But Vicki takes the lead on “Come to Me,” a song that feels very intimate to me. The instrumentation for this track is more spread out, leaving plenty of space for her yearning vocals. A mid-song key change swells into a short, emotionally charged electric guitar that is a perfect crescendo for the song.

That balance of emotional nuance and musical tradition continues with “Is Anybody Here,” a plaintive track that strips away ornamentation entirely. John’s vocal is near-breaking at points, especially as he leans into the central question: “Is anybody here to hear this song?” It’s a powerful moment of vulnerability. The minimalist accompaniment lets that emotion come to the forefront, offering one of the record’s most resonant moments. Even though the instrumentation is upbeat, it is deceptive. The song could have easily also had a stripped, acoustic-led instrumental and been just as good.

While most of the album stays within a warm Americana and roots-pop register, “Sound on Sound” offers a sharp contrast. With distortion-laced guitars, shouted backing vocals and a quick tempo, the track swerves into a new direction. On my first listen, this song caught me off guard. But, on subsequent listens, I love the placement of this track. It helps keep the energy up, something that is very important in terms of album pacing. It tells me that the duo is unafraid to expand their sound when the material calls for it, and that is something I can appreciate from any artist.

The album doesn’t overstay its welcome. Tracks like “Don’t Look Back” and “A Thousand Times” further develop the duo’s harmonies and highlight Peterson’s melodic instincts. “You in My Mind” leans closer to her Bangles-era hooks but recontextualized through roots instrumentation. The album closes with the track “Ol’ Timeless,” which winds down the record on a reflective, acoustic note; something that I feel is the perfect conclusion to the album.

“Long After the Fire” does not present itself as a revolutionary work, the duo isn’t trying to re-invent the wheel. Instead, it’s a document of love, memory and trust in the songs themselves. It succeeds in the small moments, whether through the way the harmonies blend or how the instrumentation hits just right. No modern production or instrumental efforts diminish the album’s emotional effectiveness. It’s clear the goal here wasn’t to outdo Barry and Bill’s original visions, but to let them breathe in a new context, and to give them a new life for a new generation of music fans.

What makes the record resonate is the chemistry between Peterson and Cowsill. Their voices fit together with ease. There’s history behind every note they sing. They’ve lived these songs, even if they didn’t write them. That embodiment makes the listening experience feel less like a performance, and more like an intimate moment between a family, sharing their lives over every note.

“Long After the Fire” isn’t necessarily flashy, but it burns with purpose. It invites repeat listens, something it has already gotten from me. For any fans of Peterson and Cowsill, or enjoyers of Americana or country music in general, this album will surely be a treat for your ears and your mind. The album is available now for streaming and for purchase.

(By Lane Lannan, www.esquarterly.com)