Bo Staloch's EP 'The Garden' is a Soundscape of Blossoms, Roots, & Resilience
- Abby Anderson
- Mar 14
- 2 min read
Stand-out tracks: “The Garden” “The Blame”
Our favorites: “Fault Line” "Speak to Me"
Release date: March 14, 2025
Label: Capitol Records
For fans of: Noah Kahan, Hozier, Niall Horan
For 19-year old alt-folk singer-songwriter Bo Staloch, his love of music has been a seed waiting to bloom into something greater. Fostered by growing up in Austin, Texas, Bo absorbed the sounds of his childhood home, including folk-inspired music, from Bob Dylan to Mumford & Sons. Through intertwining twists of serendipity over his late teenage years, Bo coaxed his creative catharsis into something tangible. The result: his 6-track EP The Garden, released March 14 on Capitol Records.
Created in his safe-haven Laurel Canyon-facing home studio, The Garden absorbs Staloch’s influences and lets them flourish through his stunningly rich vocal range. Production from Andrew Wells, who has worked with artists like Phoebe Bridgers, Teddy Swims, and Halsey, complements the project's warm acoustic instrumentation. Illustrating the rawness and beauty of anxiety, empathy, and love, The Garden is emotionally freeing, instinctively human, and beautifully hopeful.
As soon as the the sun cracks over the metaphorical horizon on the opener "Give it a Break," the rays of Staloch's sonic landscape bury themselves deep in his lyrical content. Yearning for a sense of comfort and belonging in a world that sometimes feels insuffocatingly wide, he sings a series of mantras to pull him towards the light, "Someday I'll be fine / Go on home where nothings wrong." He traipses deeper into the "mud in the water" on the album's title track, balancing between grounding himself in the present and fearing for the future.
Driven by an electric/acoustic guitar-fusion that melts together like the beams of a sunset, "Fault Line" carries the awe and tangibility of Staloch's music into a heavy-hearted lull. Reflecting on young love lost and cracking under the the guise of self-blame, "Fault Line" sees Staloch foreshadowing "The Blame." Something of an interlude in the lowest emotional progression of The Garden, "The Blame," flows through an supple acoustic progression as Bo sings a heartbreakingly reflective, "The river runs to you / The river was you."
As with any natural garden, the gardener can make choices to make their haven a place of disquieting solitude or a place of communal optimism. As Bo meets a crossroads on "Speak to Me," he makes a conscious decision to extend a hand and allow love back into The Garden. Over a cinematic, lilting soundscape, he sings, "Put your weight on me so you can finally breathe / Don't you know, baby? It's an endless fight / So fight it with me."
Across the The Garden, Bo Staloch's journey from self-doubt to self-discovery is mirrored in the lush landscape of his music, where raw vulnerability and introspection take root, giving way to a hopeful, healing soundscape that speaks to the universal need for connection, understanding, and growth.
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