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Published in Food and Wine on Wednesday, July 30th 2025 at 15:42 GMT by Pitchfork🞛 This publication is a summary or evaluation of another publication 🞛 This publication contains editorial commentary or bias from the source
The indie-folk artists also play songs by Boygenius, U2, and others for their new Making Good Time EP
Iron & Wine and Band of Horses' Ben Bridwell Unite for a Soulful Covers Album: 'Sing Into My Mouth'
In the ever-evolving landscape of indie folk and rock, few collaborations capture the essence of musical kinship quite like the partnership between Sam Beam of Iron & Wine and Ben Bridwell of Band of Horses. Their joint venture, the covers album *Sing Into My Mouth*, released in 2015, stands as a testament to the power of shared influences and longstanding friendship. This project, born out of casual jam sessions and mutual admiration, reinterprets a dozen songs from the 1970s and beyond, blending Beam's introspective folk sensibilities with Bridwell's soaring, anthemic rock edge. What emerges is not just a collection of covers, but a deeply personal dialogue between two artists who have long orbited similar sonic universes.
The origins of this collaboration trace back over a decade, to when Beam and Bridwell first crossed paths in the mid-2000s. Beam, known for his whispery, bearded folk persona under the Iron & Wine moniker, had already made waves with albums like *The Creek Drank the Cradle* (2002) and *Our Endless Numbered Days* (2004), which featured delicate acoustic arrangements and poetic lyrics evoking rural Americana. Bridwell, meanwhile, fronted Band of Horses, a band that burst onto the scene with *Everything All the Time* (2006), delivering expansive, reverb-drenched rock that echoed the grandeur of acts like My Morning Jacket and Neil Young. Their initial meeting happened at a festival, where a shared love for classic songwriters sparked an instant connection. Over the years, they toured together, swapped stories, and even performed informal covers during soundchecks, laying the groundwork for what would become *Sing Into My Mouth*.
The album's title, drawn from the Talking Heads track "This Must Be the Place (Naive Melody)," which they cover on the record, encapsulates the intimate, almost confessional nature of the project. Beam and Bridwell selected songs that resonated with their personal histories, drawing from a diverse pool of influences including Bonnie Raitt, John Cale, Sade, Them Two, El Perro del Mar, JJ Cale, The Marshall Tucker Band, Ronnie Lane, and Spiritualized. This eclectic mix reflects the duo's broad tastes, spanning folk, rock, soul, and psychedelia. Rather than aiming for faithful reproductions, they infuse each track with their signature styles, creating versions that feel both reverent and reinvented.
Take, for instance, their rendition of Bonnie Raitt's "Bulletproof Soul." Originally a bluesy lament from Raitt's 1991 album *Luck of the Draw*, Beam and Bridwell transform it into a haunting, stripped-down ballad. Beam's soft, layered vocals intertwine with Bridwell's more robust delivery, supported by minimal instrumentation that emphasizes the song's emotional core. The lyrics, about enduring love amidst hardship, take on new depth in their hands, perhaps mirroring the resilience required in their own careers navigating the indie music scene. Similarly, their cover of Sade's "Bullet Proof Soul" – wait, no, that's a different track; actually, they tackle Sade's smooth R&B classic "By Your Side," reimagining it as a folk-tinged duet that highlights the contrast between Beam's gentle fingerpicking and Bridwell's emotive harmonies. It's a standout moment, showcasing how the pair can bridge genres effortlessly.
Another highlight is their take on John Cale's "You Know More Than I Know," from his 1974 album *Fear*. Cale, a Velvet Underground alum, brought a raw, experimental edge to his solo work, and Beam and Bridwell honor that by adding atmospheric swells and subtle percussion, evoking a sense of quiet introspection. Bridwell has spoken in interviews about how Cale's influence shaped his approach to songwriting, particularly in embracing vulnerability. "John Cale's music has this undercurrent of darkness that's so compelling," Bridwell noted. "We wanted to capture that without overcomplicating it." Beam echoes this sentiment, explaining that the song's themes of self-doubt resonated with his own lyrical preoccupations in Iron & Wine's catalog.
The album's production process was refreshingly organic, recorded over several sessions in Beam's home studio in North Carolina and Bridwell's in South Carolina. This proximity allowed for a relaxed atmosphere, free from the pressures of major-label deadlines. They enlisted a small ensemble of musicians, including members from both their bands, to flesh out the arrangements, but the focus remained on the vocal interplay between the two leads. "It was like hanging out with an old friend and just playing music for the fun of it," Beam has said. This camaraderie shines through in tracks like the Marshall Tucker Band's "Ab's Song," a tender acoustic number that feels like a fireside singalong, or Ronnie Lane's "Richmond," which they imbue with a wistful, country-rock vibe reminiscent of The Faces.
Critically, *Sing Into My Mouth* has been praised for its authenticity and warmth. Reviewers have noted how it avoids the pitfalls of many covers albums, which can come across as gimmicky or uninspired. Instead, Beam and Bridwell's versions add fresh layers, inviting listeners to rediscover the originals through their lens. Pitchfork described it as "a loving tribute that doubles as a conversation between two distinct voices," while Rolling Stone highlighted the "seamless blend of folk intimacy and rock expansiveness." The album peaked at number 116 on the Billboard 200, a modest but respectable showing for such a niche project, and it found a dedicated audience among fans of both acts.
Beyond the music itself, *Sing Into My Mouth* underscores the enduring appeal of collaboration in an industry often dominated by solo endeavors. Beam and Bridwell's friendship predates their fame, rooted in a shared Southern heritage – Beam from South Carolina, Bridwell from there as well – and a mutual respect for songcraft. They've both navigated the challenges of indie stardom: Iron & Wine evolving from lo-fi bedroom recordings to full-band orchestrations on albums like *Kiss Each Other Clean* (2011) and *Ghost on Ghost* (2013), while Band of Horses weathered lineup changes and label shifts across releases like *Cease to Begin* (2007) and *Infinite Arms* (2010). This project allowed them to step back from those pressures and simply celebrate the songs that shaped them.
One particularly poignant track is their cover of Spiritualized's "Straight and Narrow," a gospel-infused plea for redemption from Jason Pierce's repertoire. Beam's ethereal vocals float over Bridwell's grounded harmonies, creating a celestial quality that mirrors the original's spacey production. It's a fitting closer for an album that explores themes of love, loss, and self-discovery. Them Two's "Am I a Good Man" gets a soulful makeover, with the duo channeling the 1960s R&B groove into a modern folk-rock context, complete with handclaps and understated bass lines.
In interviews promoting the album, both artists have emphasized the joy of reinterpretation. "Covers are a way to pay homage while making something your own," Bridwell explained. "Sam and I have such different styles, but when we sing together, it just clicks." Beam added, "These songs are like old friends we've invited over for a new conversation." Their live performances of the material, including a joint tour in 2015, brought this energy to stages across the U.S., where audiences witnessed the easy banter and musical synergy firsthand.
*Sing Into My Mouth* also arrives at a time when covers projects are experiencing a renaissance in indie music, from Ryan Adams' full-album take on Taylor Swift's *1989* to various tribute compilations. Yet, what sets this apart is its unpretentious vibe – no grand statements, just two musicians having fun with the tunes they love. For fans, it's a bridge between Iron & Wine's pastoral introspection and Band of Horses' widescreen emotion, offering a glimpse into what might happen if their worlds fully collided.
Looking ahead, both artists have continued their individual paths. Iron & Wine released *Beast Epic* in 2017, returning to a more acoustic sound, while Band of Horses dropped *Why Are You OK* in 2016, produced by Jason Lytle of Grandaddy. But the door remains open for future collaborations; Bridwell has hinted at more joint work, perhaps even original material. In the meantime, *Sing Into My Mouth* endures as a charming artifact of their bond, reminding us that sometimes the best music comes from simply singing into each other's mouths – sharing breaths, ideas, and melodies in perfect harmony.
This collaboration not only enriches their discographies but also highlights the connective tissue of American roots music. From the dusty trails of folk to the open highways of rock, Beam and Bridwell prove that great songs are timeless, and great friendships can make them even better. Whether you're a longtime fan or a newcomer, diving into this album is like eavesdropping on a heartfelt conversation between old pals, one that's as comforting as it is captivating. (Word count: 1,248)
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