Lost Lake Presents Thomas Dollbaum on Monday, April 5th.
The realest-deal storyteller in indie-rock today is the Tampa-born, New Orleans-based singer/songwriter Thomas Dollbaum, and Birds of Paradise is his most powerful and dynamic work yet. Following up his critically acclaimed Wellswood (Big Legal Mess, 2022) and Drive All Night EP (Dear Life Records, 2025), Birds of Paradise is a goodbye letter to lost loved ones and former selves. These songs find Dollbaum searching for acceptance in the transient in-between places: Florida’s pine flatwoods, backroads leading to 1-95, where birds fly across the water. And even though the ghosts of his alt-county predecessors Townes and Molina are definitely present, on Birds of Paradise, Dollbaum emerges from their shadows–waving to the past, sounding all the more like himself.
This moment–this album–is long overdue. Both of Dollbaum’s previous releases had taken way too long to record, due to circumstances out of his control, leaving him frustrated. And after having been away from his home for eight years, the place he had left was no longer the place he remembered, and the unchanging of the natural world felt like a constant he wanted to write about. With a sense of immediacy, he wrote Birds of Paradise in three months. Called up the musicians he trusted and admired the most–Nick Corson, Josh Halper, and Jake Lenderman–and asked them to meet him at Dial Back Sound in Water Valley, Mississippi with producer/engineer Clay Jones. They learned and tracked the album in four days, capturing lightning in a bottle, a sonic revelation Dollbaum’s writing has always been waiting for.
“Pulverize,” the album’s hardest and darkest rocker, is sorta like another short story, “Time and Again,” by Breece D’J Pancake. Both song and story are told from the point of view of a man plowing down the road, picking up strangers, trying to forget real awful things they can’t mention. Dollbaum was inspired by the time he tried to drive across Louisiana overnight but then, halfway, decided to turn around. In “Pulverize,” Dollbaum’s narrator is too afraid to look back. “You should have seen me/ out of Texas in the high moon/ Playing with God riding across the border cooped up/ in a hoopty to the promised land,” he struts. Lenderman harmonizes with Dollbaum on the chorus, “Pulverize this heart.” Dollbaum sings the next line alone, slinging his voice the highest it’ll be the whole album: “I don’t even need it.” And by the end of the song, he’s screaming with an intensity we’ve never heard before: “It’s fine, it’s fine, it’s FINE.”
With the help of Lenderman, Halper, Corson, and Jones, Birds of Paradise is Dollbaum’s hard-won breakthrough. Alive and echoing like the poems and short stories you can’t shake: coyotes howl, birds fly south, kids chase rabbits through the sugar cane, and cigarettes are four dollars a pack. Birds of Paradise reminds us where we come from–the things inside ourselves we’ve forgotten–we just needed Dollbaum to show us. Here’s how to look back without fear or shame. Here’s authenticity.
- All ages, ticketed guests under 16 ONLY ADMITTED WITH TICKETED GUARDIAN 21+
- All sales are final. Check your tickets carefully, NO REFUNDS FOR ANY REASON
- Your name will be on the Will Call list the night of the show at doors time.
