Kevin Honold - The Forge

​Kevin Honold

The Forge
self-released; 2025

​​​​By ​Dino DiMuro
​

Kevin Honold is a solo artist from Seattle, Washington (as his cover photo makes clear!) who’s just released his debut album titled The Forge. Honold calls his personal style Rhythmic Rock, with “dynamic soul-infused grooves, emotionally-driven storytelling and cinematic presence. You’ll hear the conviction of Springsteen, the vulnerability of Adelle, the dynamic textures of Bowie, and the soul and fire of Nathaniel Rateliff.” To me it sounds like super-attenuated folk rock, with ringing acoustic guitars and vocals up front, backed by walls of keys, strings and horns. 

This album marks a sort of liberation for Honold, who admits he spent a good 30 years afraid to “fearlessly embrace the forge of life.” Nowadays he throws himself head-first into the fire, and this album is but one manifestation of that change. He explains: “The Forge is a culmination of years spent digging deep, getting honest, and learning to let my heart speak louder than fear. Every track was shaped with intention. Combining the drive of rock, the intimacy of folk, and polished with the soul of hard-earned truth. There’s a heartbeat underneath every track—whether it unfolds like a slow tide or drops you straight into the storm.”

Honold insists this is not “background music.” He says it’s a headphone album, music to sit with, volume up, heart open. That may be true, but the songs are so pop-friendly that I’m afraid they actually do work playing in the background! Recording and mixing were by Pat Noon at Eight Sixteen Recording with mastering by Alan Douches with West West Side Music. The album sounds amazingly clean and well-arranged.

“The Forge” sets us up to expect an acoustic-toting folk artist, with Honold’s voice comfortably in that mid-range, expressive and very real vocal range, never overpowering the lyrics or music (after a while I was reminded of a less-quirky Freedy Johnston). Then a string section slides in comfortably, followed by bass, drums and backing vocals (I’m definitely hearing a female voice). Because there’s no credits besides Honold, I honestly can’t say whether or not his strings (and later, brass section) is real or digital. However, his previously released singles on Bandcamp show a long list of live players, so that tells me something!

“Under the Stars” is played at an upbeat, piano-rock tempo and again features female backing vocals. I’m gonna take a giant leap of faith and say this is Moe McGowan, as she’s credited on a previously released track. There’s a brass section that, because Honold also plays sax (!), might all be him! Thematically the song feels like a celebration of a relationship that’s still fulfilling even with the occasional pitfalls: “You’ve gotta learn to live with the scars / That doesn’t mean it’s getting colder /You warm me up when you’re in my arms.”

“Rainy Day” starts out sounding like a rainy day played on acoustic guitar. Honold’s voice here is so low (right in the cello range, which faithfully follows along) that I had to check that my phone hadn’t jumped to another artist! We’re talking Leonard Cohen or Nick Cave, though Honold reverts to form soon enough. There’s some amazing piano runs here, nicely complimenting the cellos and backing vocals (hello again, Moe McGowan!). “Interlude in G Major” is a folky instrumental not far from Leo Kottke, with charming finger-picked melodies backed by kick drum, followed by melodic bass and strummed acoustics. Toward the middle, acoustic piano and a room full of strings and percussion fill out what is, at heart, a fairly basic blues construction. Toward the conclusion we’ve almost arrived at the Magical Mystery Tour depot! 

“Swept Away” was previously released on an EP, and actually has credits! Aside from Honold on vox, guitar and sax, we have Luke Fox (bass), Steve Shimchick (piano), Trevor Michalak (drums), Jenn Fantaccione (cello), Matt Honold (trumpet) and our old friend Moe McGowan on backing vocals (let’s assume these guys played on everything!). This track is a six-minute rumination on a past love our narrator is desperately trying to salvage, and as such Honold takes his time setting the scene and introducing his background players. The overall sound very much reminds me of the best Neil Diamond songs.

“Me” is another folk-pop wonder, with a rush of lyrics that all fit the jaunty musical backing nicely (“I spent so many nights getting drunk and high / I know exactly why / I was hiding from the memories / But born with a mind that don’t forget / you gotta learn to forgive to settle your debts”). “Forgivable” closes the album with some beautifully recorded acoustic guitar with brass strings ringing proudly. Honold could be singing to someone close, or to any of his listeners who need his advice. Whichever way, it’s sincere and beautiful, especially in the final full-vocal choruses bathed in strings and sax.

Again, Honold warned listeners that this is an “active album” that can’t be played in the background, but something this beautiful can be enjoyed in many ways. See if you agree!

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