The Glass Hours - Chapel Glass
Cornelius Chapel Records
****
The Glass Hours’ second album uses bright surfaces to obscure sad memories of broken relationships, clothing dark songs in a sense of graceful tunefulness as Megan Barbera and Brad Armstrong lend an inspired edge to their addictive songs. Across ten sublime tracks, this ambitious duo delivers delicious, whispering country-folk. Both extremely capable vocalists, but with different enough styles and sounds that the album never gets repetitive. If you are a fan of similar duet teams like Gillian Welch & David Rawlings or Gram Parsons & Emmylou Harris, then you will thoroughly enjoy the delectable songs on this impressive album. The seamless harmonies are equally strong, gentle and dynamic. It’s the epitome of traditional mountain style singing in the 21st century. In an age when so many projects are reliant on Pro Tools, multi-tracks and even AI, this recording reminds us that the real magic is in the hands of true musicians. The album was recorded live in Dial Back Sound, Mississippi, with the couple facing each other, accompanied by the rhythm section of Matt Patton (bass) and Jason Lucia (drums) with sweetening provided by Megan’s acoustic guitar, Brad’s acoustic, electric guitars and banjo and Baxter Arender’s keyboards on one song. The arrangements come across as supple but assured, making for a consistent and comforting caress. The sentiments are sweetly sincere, well in keeping with a traditional template. So too, the melodies emphasise homespun emotions, mainly of a gentler persuasion.
Adaline initially appears as one of the record’s sunnier arrangements. It almost gallops along as the pair duet through this love message from beyond the grave, about the things left undone. A contrast between the dark and the light is a focal point of the album as the couple wade through disharmony but pairs it with buoyant melodies. The songs that stick with you are ones like the silky In The Morning, the heartbreaker The Man Who Had Everything and the hopeful, searching North and its delight of just driving just anywhere with someone you care about. Colorado is one of the most intimate and beautiful tracks on the record. An odyssey of folk warmth and wonder, human experience and emotional vulnerability in dealing with getting older and the relationships we desperately need to hang on to and the connections to the places we’re from. The dark inspires Providence, like drifting through a dream, or a nightmare. but even a graveyard can be a hopeful resting place. This is followed by a fresh take on In Ihe Pines. With its sweet harmonies and finely plucked banjo, this is the dichotomy of light and dark that is most appealing. The closing title track alludes to the fleeting love and passion for an artist or performer. Megan lays down vocals that are angelic and soulful.
In an era when the world doesn’t make much sense, music that’s so effective at putting extra distance between whatever’s outside the front door and what’s in between your ears is a welcoming tonic. This is a great LP that reflects the traditions of past acoustic music. Overall, it’s a solid win for these two musicians who’ve been around the block a time or two—and it shows.
June 2026