Pennan Brae knows that rock ’n’ roll never really goes out of style; sometimes, it just needs the right guitar riff, a Hammond organ, and a drummer who knows exactly when to make the whole thing swing. On Studio, the Vancouver-based singer-songwriter delivers a seven-track collection steeped in the spirit of ’70s and ’80s rock, blending classic influences with quirky songwriting, punchy rhythms, and a wonderfully organic instrumental palette. Released on June 25, 2026, the album serves as a companion to 2025’s Paint, with legendary drummer Steve Ferrone adding his touch to six of its tracks.
“Scratch” gets things moving with catchy, punchy instrumentation and bright flashes of cymbals. Brae’s light, high-register voice brings an engaging, almost mischievous quality to a song about finally walking away from a relationship that has run its course. The lyrics balance playful imagery with firm resolve, as the narrator packs his bags and heads for a fresh start in Albuquerque. There’s a quirky alternative-rock edge to the track, with its David Bowie-inspired character giving the album an opening that feels a little offbeat in all the right ways.
“Night Crawling (Radio Mix)” takes a different route, leaning into smug, playful guitar work and a vocal delivery that comes in engaging bursts. Its clipped phrases—squeaking doors, creaking floors, racing pulses—create a restless sense of anticipation, capturing the almost obsessive pull of someone determined to return to a lover despite the emotional complications. The song’s rhythmic wordplay gives it a mischievous momentum, making desire feel simultaneously exciting and exasperating.
The album closes with “It Ain’t Perfect But It’s Free (Dance Mix),” which swaps the rock-driven energy for stronger beats and a more pronounced dance rhythm. Brae’s tender, husky voice moves melodically through lyrics celebrating freedom, resilience, and the right to be oneself. The repeated refrain becomes an uncomplicated but effective statement of independence, giving the record a lively, optimistic send-off.
A major part of Studio’s appeal lies in its tactile sound. Brae’s Fender Mustang guitar and vintage Hammond organ, routed through a Leslie cabinet speaker, bring warmth and character to the arrangements, while Ferrone’s drumming supplies a seasoned rock foundation. Alison Jenkins’ harmonies add another layer of richness, with producer and bassist Kaj Falch-Nielsen helping keep the performances cohesive.
Across its seven tracks, Studio celebrates the enduring charm of classic rock.
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Photo credits: Dan Jackson, Shimon
Review by: Naomi Joan