Album Review: Noah Kahan "The Great Divide"

Noah Kahan returns with his fourth studio album, “The Great Divide,” a record that invites listeners into a deeply reflective and emotionally expansive journey.

The album is notably lengthy, spanning 17 tracks, with 13 of them running over four minutes. For fans hoping for a substantial body of new work, Kahan more than delivers, offering a project that feels both full and intentional in its scope.

The album opens with “End of August,” where the sound of cicadas sets a quiet, immersive tone. Here, Kahan is at his most restrained, using the slow collapse of summer as a metaphor for emotional endings that arrive without spectacle.

There is a clear fixation on temporality; August becomes symbolic of something fleeting, where each moment feels heightened precisely because it is about to disappear. Even a brief lyric like, “And I tried gettin' sober, I swear I did better this time,” lands with striking emotional weight.

“Doors” introduces a more groove-driven, almost danceable beat, but the shift in tone does not lessen the emotional impact. The second verse undercuts any sense of ease, delivering a lyrical punch that contrasts sharply with the production. The drum work here stands out, adding texture and momentum to the track.

The album’s lead single, the titular “The Great Divide,” alongside “American Cars,” leans into a more upbeat sonic palette while still maintaining Kahan’s signature folk sensibility. This balance between brightness and introspection becomes a recurring strength throughout the record.

“Downfall” feels like a thematic companion to “You’re Gonna Go Far” from his previous album. It captures the complicated experience of someone moving away and all the feelings that come with that.

Lines like, “I'm cursin' every exit sign and my damn Christ-like devotion / To hopin' you might change your mind, and to hatin' you for goin',” showcase Kahan’s ability to articulate emotional contradiction with precision.

The run of “Paid Time Off,” “Haircut,” and “Dashboard” highlights Kahan’s versatility. “Paid Time Off” is subtle and light, “Haircut” reads as an introspective reflection on projection and identity, and “Dashboard” leans into his familiar “driving across state lines” imagery, a motif that continues to ground his storytelling.

While Kahan’s songs often invite multiple interpretations, “Willing and Able” strongly evokes the experience of reconnecting with grown siblings and recognizing that childhood dynamics cannot be recreated. It is a quiet but deeply affecting realization.

“23” slows the album’s pace, settling into a more somber tone. With lyrics like, “Tattooed your initials into my right arm / So I'd see your name when I lift up a drink,” the track offers a raw portrayal of loving someone struggling with addiction.

Another standout single, “Porch Light,” is written from the perspective of Kahan’s mother, giving voice to the quiet anxieties of a parent watching their child navigate fame.

This shift in perspective adds a new layer of emotional depth to the album.

“Deny Deny Deny” introduces a sharper, more rock-influenced edge. The track leans into frustration and anger, allowing Kahan to express pain through a more aggressive emotional lens, expanding the album’s tonal range.

Moments of levity appear as well, most notably in “Headed North,” where Kahan delivers the humorous line, “But if I see one more Cybertruck, I swear to God I’m gonna floor it.”

“We Go Way Back” and “Spoiled” both reflect on Kahan’s life before fame, offering insight into how his perspective has shifted over time. His self-awareness in these tracks adds another dimension to the narrative of the album.

“All Them Horses” confronts Kahan’s struggles with depression, pairing some of his strongest vocal performances with deeply introspective lyricism.

The album closes with “Dan,” a track that encapsulates the intimacy of friendship while revisiting themes of grief. Kahan references his late friend Carlo, previously honored in “Carlo’s Song” from the EP “Busyhead.”

In the line, “Think I stood right here back when Carlo died / Said I hated the way I made it all about me,” Kahan reflects on both loss and the complicated ways people process grief. He has cited this as his favorite lyric on the album, and it serves as a fitting emotional conclusion.

Listening to “The Great Divide” can feel overwhelming at times, but that emotional intensity is central to Kahan’s appeal. His openness and vulnerability create space for listeners to see themselves reflected in his work.

With each listen, new lyrical details emerge, often striking with unexpected depth. This capacity for layered storytelling is what continues to define Noah Kahan as a songwriter.

“The Great Divide” not only reinforces his strengths but also expands them, offering a project that feels both deeply personal and widely resonant.

Rating: 9/10

Reviewer’s Favorite Tracks: “Deny Deny Deny” and “Willing and Able”

Reviewer’s Least Favorite Tracks: N/A

Madison Rush is a fourth-year majoring in public relations. To contact her, email mkr5957@psu.edu.