Sam Bergquist - Devils & Doves (2026)

This set is an interesting group of songs by Boston singer-songwriter Sam Bergquist, who is definitely a musical explorer who challenges himself with every note & lyric. He navigates life’s contradictions, its unpredictability, relationship struggles, things that chop away at one’s peacefulness, with contrasts far, wide & reaching.

Performed through a variety of musical genres & poked along by a savvy group of musicians, the 10 Devils & Doves (Drops March 13/Bergquist Music/34:52) were produced by Dave Westner (drums/bass/percussion) & Mr. Bergquist (vocals/acoustic guitar/harmonica/harmony).

Imagine some folky music set to a country upbeat figure layered between a bluegrass indulgence swabbed in Delta swamp music & add a quirky vocal. It adds up to the clever work of Sam Bergquist. “Envy Blues” & “Smoke” are well-carved from a marble of his own making. I like creativity, I like originality even when soaked in old-world traditions. Bergquist has mapped out a route of his own. Standard notes from a mandolin, pedal steel guitar & brushes on drums, yet, somehow it comes out like something you’ve never heard before.

Now, when I say quirky, I don’t mean Tiny Tim novelty quirky. It’s more a vocal proficiency akin to Valerie June. Sam’s vocals are not Elvis Presley; he certainly isn’t Alison Krauss, or twangy like Randy Travis — but he’s closer to Vince Gill crossed with a Lyle Lovett emollient. Even the music has a John Hiatt mandolin-driven quirkiness that works like chocolate & potato chips.

“Landfill” is rural, pensive & played tight. Lyrically, Sam has some wonderful lines & sans cliches. The music sticks in your brain like a fly on flypaper. It has consistency. It’s entertaining & smart.

I made many comparisons, but Sam is an original; he combines all these seasonings. There isn’t much complexity to the music, but it’s the approach to the compositions that’s unique. The recordings are captured well & never overly dramatic, bombastic, or pretentious. There’s a middle-of-the-road tint to his songs, but it’s not easy listening. If he’s MOR at times, he’s on a muddy road, not a two-lane blacktop. “The Rifle & the Dove” even has a Tom Waits-type balladry woven through it. The slide guitar is snarky, the drums are “Lion Sleeps Tonight” thud-pounded & the rhythms sting. Nice stuff.

Poetic is “Louisiana Lightning,” with its Lake Wobegon-Fannie Flagg atmosphere of greasy fries, strong coffee, rain & insomnia. Wonderful imagery. “Redwood Tree” is another jewel polished by the voice of Georgia Bowder Newton. Good contrast with Sam’s coal dust voice.