Kathryn Ryan - Kathryn Ryan (2025)

Originally from Wisconsin and now residing in Colorado, singer-songwriter Kathryn Ryan introduced her debut eponymous album not long ago, on Philville Records. This collection masterfully fuses folk, country, and classical influences, delivering deeply emotional music that explores themes of sorrow, forgiveness, and personal growth.

A trained cellist, Ryan brings her expertise to the cello arrangements, adding a unique, nostalgic quality to the tracks. Kathryn Ryan was co-produced with Matthew R. Sayles, who also handled engineering, mixing, and mastering.

Recording took place at Sueño Royale Studios in Eau Claire, WI, and the project features notable Midwestern musicians, including members of The Driftless Revelers, Lee “Big Country” Martin (known for work with Feeding Leroy and Trampled By Turtles) on pedal steel, Jerod Kaszynski on piano and bass, John Utphal on fiddle, and vocal contributions from Emily VanOpdorp and Irelyn Ulrich on the track “Jesus Forgives.”

Kathryn Ryan consists of nine songs, with standouts like “Thursday,” a lively tune that showcases country-folk vibes and Ryan’s laid-back, velvety singing style. In “Jesus Forgives,” Ryan tells the story of heartbreak and the person responsible, highlighting that while forgiveness is divine, she herself struggles to let go. The song’s multi-part vocals in the finale make it especially memorable.

A particularly striking lyric from “Jesus Forgives” reads:

“Jesus forgives / He says turn the other cheek / But he don’t know what you done to me / Jesus forgives / But I’m not Jesus / And I hope that boy rots right in his grave.”

“Florida Man” stands out for its drifting rhythm, expressive fiddle, and beautiful harmonies, creating a moody, almost ominous atmosphere. The cello introduction in “Winter in Wisconsin” is both icy and enchanting, leading into a song about a lover as cold as the Wisconsin winter.

The final track, “Stain,” features a piano with classical undertones and a gently swaying melody, enhanced by medieval-like textures and haunting, hymn-like vocals.

Overall, Kathryn Ryan’s debut is a remarkable achievement, thanks to her expressive voice and the album’s seamless genre transitions.