The devil works hard, but Zach Bryan works harder. 

Less than a month after the release of his self-titled album, Zach Bryan has blessed us with his EP, “Boys of Faith.” Although it’s rare to see an artist churn out songs this fast, he’s done it before … maybe he’ll do it again. 

After his release of “American Heartbreak” in May 2022, he quickly followed up with “Summertime Blues” two months later. “American Heartbreak” reached No. 5 on the Billboard Hot 200 and “Summertime Blues” reached No. 34, while his latest LP, “Zach Bryan,” skyrocketed him up to No. 1 on the Billboard Artist 100 chart. 

Based on his post on social media, it seems that he created “Boys of Faith” within a week.

“Locked myself in a studio all week, wrote myself through a notebook, walked around with people I love in the city then went campin, felt restful and hopeful, thankful for breathing no matter the day,” Bryan posted on Instagram.

The first song “Nine Ball” has his classic sound, as he doesn’t take many risks. While the electric guitar is a great touch, and I always love the harmonic, this will probably fade into the background. 

Be that as it may, I always found Bryan to be more Bob Dylan-esque. I think his true talent is in the lyrics. “Nine Ball” is about a son overcoming his fear of becoming like his father — who is a gambler — and learning to be independent. The lyrics lack frills and flair, and I think that is exactly what makes it so poignant. 

This is followed by “Sarah’s Place (ft. Noah Kahan).” I would consider this song as the one that strays the most from his usual sound on the EP. It’s more up-tempo than most of his other songs, which I find refreshing. It sounds more like Indie-Folk than his regular country-Americana-rock. It’s like if Mt. Joy and the Beatles collaborated in a dingy bar in Boerne, Texas.

The song draws you in with his standard acoustic guitar, and Kahan’s introduction in the second verse brings the song to life with the accompaniment of the upbeat drums and guitar. The lyrics are nostalgic for a past time with an ex and the hollowness he feels without her in their hometown. He’s proud of her for the life she is making for herself, and by the end of the song, we receive a happily ever after with his decision to sell his Gibson and fly to see her. 

Next is “Boys Of Faith (ft. Bon Iver).” Now, I want to love this song. Maybe this is a hot take, but I think this song is like the Taylor Swift and Lana del Rey “Snow on the Beach” fiasco. Maybe not exactly to that caliber, but Bon Iver is barely audible as a background vocalist. Although his voice is less prominent throughout the song, his influence is conspicuous in the music with the stray piano keys. This melancholic song — even more nostalgic than the last — is about Bryan’s life changing and his appreciation for his friends. 

Bryan posted an X reply stating that the Bon Iver collaboration was formulated about four days before the release. However, some of the songs on the EP have been in Bryan’s back pocket for a while. “Pain, Sweet, Pain” is believed to have been written around 2020, as there is a post of Bryan playing it while he was in the Navy.

Next up is “Deep Satin.” Honestly, I don’t love it. I think it sounds just about the same as most of his other songs — gripey with some growls that make my skin absolutely crawl. Just like in “Burn, Burn, Burn,” he belts out some of the verses but, plainly said, it just does not sound good. Then again, his strengths are in the songwriting. “Deep Satin” is a longing for past relationships and the human connection it provides. He’s reminiscing on this past relationship, but he’s also lonely and misses home. 

He closes out with “Pain, Sweet, Pain” — my personal favorite. The sound is evocative of Mumford and Sons with the drums and guitar and a hint of Charles Wesley Godwin with the violin. After the first couple of verses with his trademark acoustic guitar, the song picks up and sounds exactly like the beginning of “Little Lion Man” by Mumford and Sons. Unfortunately, at the end of the song, he does that growl I despise so much, but I am willing to overlook this aspect. The lyrics are about introspection — he’s pushing himself to keep going through the hardships of life, wanting someone else to take on the burden for a bit but also knowing he’ll soon reach his destination. 

Overall, I think this EP is amazing. His writing is concise and accessible with a melancholic, nostalgic theme connecting each song. I would love to see him deviate more from his regular sound and test the limits of this new revival of outlaw country.