With Graceland Way, Mikaela Davis trades the hazy, psychedelic explorations of her past for the golden clarity of the California sun. Recorded in the Glendale canyon that gives the album its name, this fifth studio effort feels like a definitive shift—a « coming out » party for a songwriter who has finally found a way to make her signature harp feel as essential to indie-rock as a Telecaster.
The album, produced by Dan Horne and John Lee Shannon of Circles Around the Sun, leans heavily into a « Cosmic Americana » aesthetic. It’s an easy-going, conversational record that evokes the breezy spirit of Laurel Canyon while maintaining a modern, sophisticated edge. The opening track, « (Looking Through) Rose Colored Glasses, » sets the tone perfectly. Featuring Madison Cunningham and Tim Heidecker, it’s a shimmering piece of pop-rock that highlights Davis’s newfound penchant for bright, radio-ready melodies.
While the album shines in its upbeat moments like « Nothin’s On The Radio, » it finds its soul in collaborations. The standout « Junk Love, » featuring Karly Hartzman of Wednesday, offers a grittier, alt-country texture that contrasts beautifully with Davis’s ethereal vocals.
Critics have been largely enamored with this evolution. Pitchfork praised the album for its transition from « melancholy to light, » noting how Davis has successfully woven her harp into arrangements that feel « open and airy. » Glide Magazine was equally impressed, calling it a « polished and elevated » step forward that solidifies her place in the neo-western pantheon. While some outlets have pushed their scores toward the 8.5 mark, citing the record’s seamless production and infectious warmth, a more balanced perspective places it at a 7.8/10.
At 7.8, we recognize Graceland Way as a remarkably cohesive and professional body of work. It is a record of immense charm and technical skill that occasionally plays it a bit safe within its 70s-rock influences. Nevertheless, it is an essential summer soundtrack that proves Mikaela Davis is far more than just a « harpist »—she is a premier architect of modern American roots music.