Feels Like Home: The Album Club

The Album Club: Dijon - Baby

Alex Lewis — Mon, 20 Apr 2026 11:48:15 GMT

Hey y’all,

I hope someone told you they love you today. If not, hear it from me: I love you. Then, go look in the mirror and say it again.

I’m dropping in to announce that we’ll join back together on May 4th for our next meeting of The Album Club — a monthly gathering for music nerds and those looking to connect with each other. I host these sessions on the first Monday of every month in partnership with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible.

Picture a book club, but for music. That’s the Album Club. We usually discuss one album in full. The sound, the lyrics, the stories. During our last session, we paid tribute to D’Angelo and his seminal album, Voodoo.

Our next album is Dijon’s Baby. The homies & suggested this project and will be guiding our discussion. Come through for your new favorite hangout!

RSVP here

Baby is Dijon’s second studio album. Released last August, Baby follows up the Maryland native’s 2021 debut album, Absolutely, with an ode to his wife and their son, Baby. In reaching for vanguards like D’Angelo and Radiohead, Dijon starts from a place of messing everything up. Instead of perfection, he chases feeling and lets emotion seep through every pore. Dijon follows the moment wherever it may lead—and in turn, he establishes new moments and creative standards that artists will chase for years to come.

Starting this Saturday, April 25th, we’re launching The Album Club: Listening Room on the last Saturday of every month. These informal gatherings will provide us an opportunity to sip coffee and listen to our featured album ahead of each Album Club meeting. No RSVP needed. Just show up as yourself, and start your weekend off right!

Dijon is a universe unto himself, but here are a few links to better understand him as an artist and his latest album, Baby. Thanks to , , , and more for sharing their suggestions. You can check out more and drop your own recommendations here!

The Album Club meets at The Scatter Joy Storefront, located at 986 North High Street, in Columbus’ Short North Arts District. The multi-purpose space is cozy, welcoming, and made just for you. Whether you’ve recently listened to the featured album or you’re returning to it after a while, come as you are!

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

Reserve your spot

The Album Club: D'Angelo - Voodoo

Alex Lewis — Mon, 23 Mar 2026 13:30:13 GMT

Hey y’all,

I hope that, wherever you are, you’re feeling the sun on your face. I’m dropping in to announce that we’ll join back together on April 6th for our next meeting of The Album Club — a monthly gathering for music nerds and those looking to connect with each other. I host these sessions on the first Monday of every month in partnership with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible.

Picture a book club, but for music. That’s the Album Club. We usually discuss one album in full. The sound, the lyrics, the stories. During our last session, we discussed Saint Cloud by Waxahatchee, and I still can’t stop myself from listening.

Our next album is D’Angelo’s Voodoo. My dear friend suggested this project and will be guiding our discussion. Come through for your new favorite hangout!

RSVP here

Voodoo is the second of three albums released by D’Angelo during his lifetime and is largely considered to be the musician’s magnum opus. Released at the top of the millennium in January 2000, Voodoo reaches into the past while guiding us toward the future. D’Angelo, originally from Richmond, Virginia, sidestepped the “neo-soul” label in favor of making what he referred to as “Black music.” With the heartbreaking news of his death last October at the age of 51, Voodoo becomes even more crucial as we cherish the gift of D’Angelo’s living.

This is hardly skimming the surface, but here are a few links to better understand D’Angelo & Voodoo. Thanks to , , , and more for sharing their suggestions. Included a few of my favorite tributes from & !

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

Reserve your spot

How to Start Your own Album Club

Alex Lewis — Sat, 07 Mar 2026 05:43:37 GMT

On the first Monday of every month, I gather with a room full of people here in Columbus, Ohio, to discuss an album in depth. Together with my friends at The Scatter Joy Project, we introduced The Album Club back in October 2025 as a way to create more opportunities for togetherness and connection. Since then, we’ve hosted genre-spanning conversations on projects like Bon Iver’s SABLE, fABLE and Ravyn Lenae’s Bird’s Eye.

I first learned about album clubs — or “book clubs, but for music” — on Substack. I tapped in with when I saw his chordinnate album club was hosting a virtual conversation on Bon Iver’s first and last albums. As a fan of these records, I decided to give it a try. What I found was a group of people who were passionate about music and shared interesting perspectives I hadn’t thought about before. I felt free to geek out and knew I’d do whatever I could to be at the next one.

From virtual discussions to trying my hand at in-person gatherings, I’ve seen a genuine excitement for album clubs. Here in Columbus, we’ve had a waitlist for every meeting. As people have caught wind of these events, I’ve started hearing from folks in different cities who want to start their own. If this is you, here are some questions for you to consider as you begin exploring what’s possible.

1. Is there an Album Club that already exists?

When starting anything, my first question is whether something like it is already happening. While I’m comfortable leading, I don’t need to be the one in charge. I can gain just as much—if not more—by participating in different communities. I think we miss out when we jump to lead instead of supporting organizations that are already in motion and helping them thrive.

While I saw local record stores hosting listening parties, which I love attending when I can, I wasn’t aware of any album discussion groups in town. This felt like a gap we could help fill. I’m still involved with the chordinnate album club and join their virtual meetings when I’m available. Although I can’t always make it to different community events, I love supporting good people doing good things—even if it’s just a repost or sending announcements to friends.

I recommend doing a quick search for whatever you’re looking for. When I began to consider starting my own Shut Up & Write chapter, I reached out to different writers and literary friends in the city. I asked them if they knew of anything like what I was proposing. While there are a couple other Shut Up & Write groups, there were none that met close to downtown.

You might attend an online or in-person album club and find that it doesn’t align with your interests or values. That’s okay. At least you gave it a try. And maybe, by you sticking around, they’ll evolve in ways that weren’t on their radar before. You might also find a different set of people you can reach with your club.

2. In-person or virtual?

There’s no wrong answer here. It’s really up to you. I’ve found a lot of value in both types of album clubs—and there’s even a secret third thing: hybrid. From listening parties I’ve attended, I saw how powerful it is to be in the same room experiencing music together. But I’ve also gained a lot of value from virtual discussions and love that I can participate from the comfort of my couch.

I lucked out with a location for The Album Club because Scatter Joy has its own third-space storefront. I have a homie who’s looking to begin hosting an album club at the bar where he works. Another one of my friends, , hosts in-person music discovery events at Vowels’ showroom in downtown New York City.

Depending on your vibe, there are a lot of ways you can go. It can be open to the public or as intimate as dinner with friends. One of the things I loved when leading a virtual album discussion last October is that friends from all over the country got to join. I had homies from New York, North Carolina, and Salt Lake City all on the same call. At the end of the day, what is going to be most conducive for the conversations you want to have and the environment you want to create?

3. How are you picking your albums?

“Choosing an album isn’t easy,” wrote Paste Magazine’s Josh Jackson for a story on album clubs. He’s not wrong. There’s so much music out there and so many directions you can go. That’s why I’ve done two things since starting The Album Club: (1) I don’t lead every discussion, and (2) I ask people to share an album they want everyone to listen to.

Dave of the chordinnate album club inspired me to tap other people to suggest albums and lead the discussion. I know that my reference points are limited. While I enjoy listening to different genres, there’s so much music that I haven’t listened to—and I love learning what others are into. ’s discussion on Baby Rose’s To Myself helped me recall a collaboration I heard of hers with BadBadNotGood. I also made the connection with her appearances on Dreamville’s Revenge of the Dreamers III.

Knowing I wanted to open the floor to other attendees, I created a QR code flyer that reads, “What’s an album you want everyone to listen to?” I place the flyers around the room during Album Club meetings and prompt people to share their suggestions. There’s also an option for people to note whether they’d like to lead a future discussion. Over the past few months, we’ve received nearly 100 sign-ups and album recommendations.

When building out the schedule, I’m mindful of picking a diverse group of discussion leads whose album suggestions maintain good variety in gender, ethnicity, and genre. Especially since we’re early on, I try to strike the balance of curating a lineup of artists that aren’t too obscure and still keeping it interesting with plenty of opportunity for conversation. As we go, we’ll take some risks and continue testing the limits of what’s possible.

4. Listen to the album or just discuss?

This is really a question about how you want to structure your time. There are so many different ways to interact with our favorite albums, and it’s simply a matter of what’s most meaningful to you and your community. We structure The Album Club similar to most book clubs where we listen to the album prior to the meeting, then come together to discuss it. There are other album clubs that are more focused on listening to records together.

The best advice I can give is to stay open to how your community might evolve over time. From the beginning, I told people that I’m along for the ride just as much as they are. I thought, when first starting The Album Club, that we’d break everybody into smaller group discussions. We tried it for the first meeting, and it went well. But there was a desire to hear from more people. During the next meeting, we ended up with one large group around the shop. I was worried the conversation may not be as intimate, but people really opened up. We haven’t turned back since.

Be open to surprises. Just because you’ve done it a certain way doesn’t mean you have to keep doing it that way. When you ask your community what they think, you might hear ideas you’ve never thought of. This is the beauty of building these spaces together. This is when it goes from being yours to ours.

5. How often are you meeting?

This question is dependent on a few different factors, but I really want to focus on making the cadence work for you. You don’t start an album club if you don’t want to be at the meetings. You want to be there as much as you can, which means it needs to work with your schedule. Album clubs should be sources of joy; they shouldn’t add to the burnout we’re pushed toward in so many other areas of our lives. You don’t want to bite off more than you can chew.

Overextending myself was my biggest worry about starting The Album Club, but I knew I could commit to meeting once a month. With organizing events, I’ve found that it’s easiest to plan around these gatherings when they happen in regular intervals. By meeting on the same day each month, hopefully, this allows for more consistency—and with consistency comes community.

Depending on your capacity and the appetite of people in your community, you can, of course, meet more often. But you’ll want to ensure that you’re not sacrificing the quality of your club by adding more meetings. What’s most important, at the end of the day, is that you and your people are comfortable being yourselves and gathering around what you love together.

This is meant to provide you with thought starters as you begin dreaming what your album club can be. I’ve shared some of what I’ve learned and encourage others to do the same. If you started an album club or have participated in one, please share in the comments what you’ve found helpful or really enjoyed!

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The Album Club: March 2026 Notes

Alex Lewis — Tue, 03 Mar 2026 10:22:07 GMT

Waxahatchee’s Katie Crutchfield (Photo by Molly Matalon / Interview Magazine)

I started last night with a question: how can we talk about music at a time like this? This is a riff on another question that Ross Gay once received from a white woman at one of his readings: how can a Black man write about flowers at a time like this? Hanif Abdurraqib addressed this question in his poetry book, A Fortune For Your Disaster. And I asked us to sit with this idea to kick off Album Club.

Inherent in these lines of thinking is the reality that there have been times, there will be times, and this is certainly a time. We’re not new to violence or war or imperialism or death or dying children or unnecessary displays of power. In fact, these are hallmarks of living in the belly of the beast. However trivial they may be, we talk about music and flowers because we’re more than what we’ve been handed.

As Ross Gay told NPR’s Brittany Luse, “Gathering around what we love might, in fact, be the process by which we imagine the lives that we want.” Said another way, also by Gay, “Noticing what we love in common, and studying that, might help us survive.”

Last night, my friend and fellow Substacker invited us to share in her love for Waxahatchee’s Saint Cloud, and I want the beauty we experienced in that room — the openness, the togetherness, the curiosity! — to permeate our world. To be something we aspire to.

, who has been making music as Waxahatchee since 2010, returns home on Saint Cloud. Newly sober, the singer-songwriter reflects on who she is, where she’s been, and who she hopes she has a chance at being on the other side of her alcohol addiction. For better, and for worse, Crutchfield has been shaped by her homes. They’ve helped nurture her artistic dreams and desires, and they’re also where she inherited her wild side—the addiction and struggles she’s now trying to heal from.

As noted on “Ruby Falls,” which I consider the saddest song on the album, Crutchfield worries that she hasn’t lived as fully as she could and won’t be able to if she keeps on drinking how she was accustomed to. She fears letting people in and worries what they’ll find if they discover the real her.

On “Arkadelphia,” Crutchfield writes, “If we make pleasant conversation, I hope you can’t see what’s burning in me.” She hides in the mundane, right beneath the surface, hoping even those she’s closest to won’t force her to face herself. But when you come home and you’re surrounded by the folks who know you best, there’s no hiding. “You strip the illusion.” You find that the myth you’ve built has no real love to give. It can’t hold you in the ways your people will.

We try to convince ourselves that our struggles have nothing to do with anyone else, that they’re not worth burdening others with, but the irony is that we have everything to do with each other. “Our belonging to one another is always there,” Gay told NPR. “Our reliance upon one another is always there.” We are “condemned to interdependence,” as declared by Thomas Sankara.

Our attempts at escaping the concerns of those around us are futile. The myth can’t hold up. “You can’t bluff or outsmart.” We need each other, and we waste more time trying to hide than making ourselves available to care.

When we surrender to the love waiting to catch us, we find, as Crutchfield did, that “you won’t break it after all.” Our struggles aren’t too heavy; we’re not too much. This surrender is a return home—back to where we were once held, only to be held again, only to be reminded that they’ve got us, that our people have always had us.

At some of my lowest points, I returned home. I walked through the door at my most broken and allowed my people to put me back together again. I couldn’t feign strength anymore. I was out of answers; I needed help.

On the album’s final track, “St. Cloud,” Crutchfield sings, “Where do you go when your mind starts to lose its perfected shape?” Back to the place I know, to the people I know, holding onto hope that they might shape me into something new. Someone who can experience all this life has for me. Everything I’m meant to taste and see.

That’s not to say home is perfect. As we discussed, in connection with Crutchfield’s lyrics, there’s a tension in returning home. Many of us left for a reason. We may love where we’ve been, but we also know it’s not good for us to stay. I wrote about Hayley Williams and Joy Oladokun wrestling with this dilemma in their music. And still, there’s a difference between what we have and what we want.

Crutchfield expresses her wants throughout the album. I thirst for a future that my present doesn’t always mirror. It’s these desires that help articulate the things that feel like home for me; they guide me toward the heaven I want to create amidst this hell. All of us showing up to share in our love for music, to laugh with one another and “try to give it all meaning” — even at a time like this — I get a glimpse of who we can be. Album Club shows me what’s possible.

For updates on future Album Club meetings, follow us on Instagram!

Even if you’re unable to join The Album Club in person, let’s continue the conversation in the comments. Feel free to answer any or all of the questions that Anna outlined for last night’s Saint Cloud discussion:

What did you first hear on this album? The sense of quiet introspection? An immediate “thaw” of lilacs, riffs, and Americana? Something altogether different
Does Saint Cloud feel like an indie album wearing a prairie dress and driving a pickup? What lyrics, sounds, or production choices push it one way or another? Any moments on the record that feel evenly both?
How did you interpret “Fire” when you first heard it? Does it feel like it’s about putting something out or igniting something?
Lyrics often oscillate between poetry and plain-spoken on this album. Do you think that helped make the project more communal? For better or worse, what lyrics stood out to you?
What was your favorite song? If you could cut a song, which one would it be?

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The Album Club: Waxahatchee - Saint Cloud

Alex Lewis — Fri, 20 Feb 2026 15:49:05 GMT

Hey y’all,

Hope you’re hanging in there alright. I’m dropping in to announce that we’ll join back together on March 2nd for our next meeting of The Album Club — a monthly gathering for music nerds and those looking to connect with each other. I host these sessions on the first Monday of every month in partnership with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible.

Picture a book club, but for music. That’s the Album Club. We usually discuss one album in full. The sound, the lyrics, the stories. However, during our last session, we had a Grammys-themed discussion, and I keep hearing how fun the conversation was. It breaks my heart I couldn’t be there, but I’m excited to be back.

Our next album is Waxahatchee’s Saint Cloud. My friend suggested this project and will be guiding our discussion. Come through for your new favorite hangout!

RSVP here

Saint Cloud is the fifth solo album recorded by singer-songwriter under the alias, Waxahatchee. Released in March 2020, the record entered the world as we began COVID-19 lockdown. Crutchfield—a product of Birmingham, Alabama’s DIY punk scene where she made music with her sister, Allison, under the name, P.S. Eliot—opts for a country-blues sound on Saint Cloud that most closely mirrors where she grew up. Katie and Allison linked up last Halloween to form a new band, Snocaps, whose self-titled debut album is also worth listening to!

Here are a few links to better understand Waxahatchee & Saint Cloud. Thanks to Anna, , & for sharing their suggestions!

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

Reserve your spot

The Album Club: February 2026 Notes

Alex Lewis — Wed, 04 Feb 2026 01:15:31 GMT

Bad Bunny accepts Album of The Year award (Credit: Chris Pizzello/Invision/The Associated Press)

It felt like a twist of fate when I learned our February Album Club fell the day after the Grammys. My wife proposed the idea of doing a Grammys-themed discussion. I don’t think I’ve said yes to something that fast since standing at the altar on our wedding day. The only problem with the timing of this Album Club is that I couldn’t be there. Without a second thought, I invited my dear friends and previous discussion leads, & , to guide our Grammys conversation. They were kind enough to share their respective recaps below.

Koku

I haven’t watched the Grammys in years, so when Alex presented Selah and I the opportunity to facilitate this month’s Album Club meeting, I was skeptical about how I would add to this conversation. Award shows have been iffy to me, considering the number of times I’ve seen Black people and other people of color get snubbed across the major award show spectrum. I remember seeing Kendrick Lamar’s good kid m.A.A.d city lose to Macklemore and Ryan Lewis’ The Heist. That was the final straw when I realized that, even in categories predominantly populated by Black people, we still can’t win. But watching the 2026 Grammys and discussing it with the crowd at Album Club, I gained a new appreciation for how much these award shows can highlight artists and bring people together.

Watching the Grammys in a group was the best way for me to get back into it. I was able to attend a Grammys watch party thrown by Alex and Elizabeth. Having them there, as well as our group of friends, helped me see the different artists I had missed out on throughout the last year. I got hip to Lola Young, and after seeing her fantastic performance, I absolutely understand why her song, “Messy,” won Best Pop Solo Performance. Seeing acts like Sombr and Katseye opened me up to genres I tend to overlook in my listening. Olivia Dean’s Best New Artist win warmed my heart. The Art of Loving was a fantastic project to help catapult her into a new world.

In addition to Young, performances from artists like Tyler, the Creator, Bruno Mars, Katseye, Sabrina Carpenter, and the excellent Mrs. Lauryn Hill also showed remarkable depth in artistry and showmanship. Tyler did an alternative verse to “Thought I Was Dead” where he addressed the anti-Black moments he’s had in the past, which resurfaced after Tyler responded to his fans’ anti-Black comments on his social media tribute to D’Angelo. On the same stage, Hill performed a tribute to D’Angelo alongside Raphael Saadiq, Bilal, Leon Thomas, and many more. A beautiful tribute during a very positive show. Many of the award winners seemed well-deserving, and there were no upsets. This culminated in Bad Bunny winning Album of the Year for DeBÍ TiRAR MáS FOToS, which brought tears to his eyes. A wonderful moment to end the night.

Taylor, Koku & Selah

During our Album Club conversation, Selah urged people to let their hot takes fly toward the Grammys, as well as nominees and unrecognized artists. We discussed what the Grammys actually mean to artists and whether they exemplify music as much as we think they do. Also, we noted the political statements made throughout the ceremony. For example, Kehlani won Best R&B Song for “Folded” while being staunchly anti-ICE, anti-Israel, pro-Palestine, and an overall advocate for marginalized people. She showed you can still be successful while holding onto your morals. Additionally, Billie Eilish spoke out against ICE, many guests and award presenters wore anti-ICE stickers and pins, and during her acceptance speech, Olivia Dean declared, “Immigrants deserve to be celebrated.”

One of my Album Club highlights was the number of people who came engaged and ready to talk. People’s guards seem to fall as the gatherings grow and we see more familiar faces. Folks are willing to share thoughts they would only share with close friends. Selah posed the question: “What album would you give the Grammy for Worst Album of the Year?” Daniel responded with Chance the Rapper’s Star Line, which many guests strongly disagreed with. The Beliebers in the crowd also caught strays with both Selah and Michaela saying, “The last time Bieber made an R&B album was Journals.” This shocked many in the crowd.

Most importantly, we talked about artists who either deserved a Grammy or that we’d love to see get more attention. Some of these included Theo Crocker, Daniel Caesar, I Am Rose, Andre 3000, Nali, Mavi, Duncan Lawrence, and Navy Blue.

At the end of the discussion, we named a wide range of albums, artists, songs, music videos, and performances we loved. Even if we didn’t get to see our favorite artist win, we had an excellent discussion and shared music we might not have listened to otherwise.

Yes, the Grammys are a prestigious award that many would love to win—myself included. And even though they might not always get it right, what’s most important is that we will. We have our fingers on the pulse of music, and as long as we keep moments like Album Club alive, we will always get it right.

Selah

My relationship to award shows has changed drastically over the years. As a child and adolescent, I spent hours obsessing over the Grammys, placing my bets and taking the time to document every big moment to talk about it the next day. After my final year of high school, I spent less time engaging with award shows after noticing the artistry and creativity declining in nominations. It became a pattern of people with racist pasts, repetitive work and tokenism as winners. The time I spent live-tweeting the Grammys got shorter, the conversations became recaps, and I couldn’t get over the hypocrisy in how the winners were selected.

The difference with this watch was the hurdles to access I had never experienced and the emphasis on whether your favorite artist has a spine to mention their politics. Unlike the days where the value of celebrity meant so much more to me, I am reminded that there are no gods and no masters. We see art and artists as political, but we must also recognize that they have the ability to show us they mean it. Although there were phenomenal performances, the best part of the Grammys didn’t happen in my bedroom watching on my iPad. With the right company, I can say that my love for award shows might have returned because of Album Club.

When Alex asked Koku and I to cohost in his absence, there was no way I could turn this down. Though Koku and I haven’t really watched the Grammys in some time, the warmth of last night reminded us that music will always remain the center of our communities. There was love and laughter along with some takes that caused necks to turn. It was full of moments where Koku’s eyes lit up at the mention of Common’s Be as a classic album or when Jaden & Daniel’s hands shot up to share their hot takes that left many questioning if they collaborated beforehand. From fashion conversations to the sweetness of the D’Angelo tribute, it’s clear to me that a space for celebration is what Columbus craves.

After we finished, there were so many new faces that expressed how they found us. One person, who had spoken to Koku, mentioned he had walked past our previous meeting and knew he had to return. It felt like a testament to the importance of just being in the moment. In this chilly season, our hearts are warm with the help of a sweet treat by Koku, heartfelt questions created by Alex, and a cozy drink from Taylor.

For updates on future Album Club meetings, follow us on Instagram!

Even if you’re unable to join The Album Club in person, let’s continue the conversation in the comments. Feel free to answer any or all of the questions I outlined for last night’s Grammys discussion:

What are your thoughts on this year’s Grammys? Do you agree with the Album Of The Year winner?

What’s your personal Album Of The Year? Even if it didn’t win or get nominated, is there an album from last year that you think should be part of the conversation?

At this time, what function do you believe award shows like the Grammys play — particularly for artists? Are they useful? What does a meaningful celebration of art look like?

Is there anyone whose name you heard at this year’s Grammys that you’re curious to check out? Or even a project you saw getting love that you haven’t listened to yet?

Leave a comment

The Album Club: Grammys Reactions & Album Of The Year Discussion

Alex Lewis — Fri, 16 Jan 2026 00:00:54 GMT

Hey y’all,

It’s a new year. The horrors persist, and so do we. I’m dropping in to announce that we’ll join back together on February 2nd for our next meeting of The Album Club — a monthly gathering for music nerds and those looking to connect with each other. I host these sessions on the first Monday of every month in partnership with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible.

Picture a book club, but for music. That’s the Album Club. We usually discuss one album in full. The sound, the lyrics, the stories. During our last session, we discussed Bird’s Eye by Ravyn Lenae, and the conversation stirred up all the feels.

Our next gathering is going to be a little different. We’ll be meeting the day after the 2026 Grammy Awards. We’ll discuss our reactions to the night’s winners and dive into the Album Of The Year nominees. Did the right people win? Who should’ve won or been nominated? What role do award shows play in our current cultural landscape? All this and more at your new favorite hangout!

RSVP here

The 2026 Grammys will air on CBS & Paramount+ at 8pm ET on Sunday, February 1st. Kendrick Lamar leads all nominees with nine nods, including for Album Of The Year. The full list of Album Of The Year nominees are:

Bad Bunny - DeBÍ TiRAR MáS FOToS
Justin Bieber - SWAG
Sabrina Carpenter - Man’s Best Friend
Clipse - Let God Sort Em Out
Lady Gaga - MAYHEM
Kendrick Lamar - GNX
Leon Thomas - MUTT
Tyler, The Creator - CHROMAKOPIA

See the full list of Grammys nominations here.

The Album Club will be at The Scatter Joy Storefront, located at 986 North High Street, in Columbus’ Short North Arts District. The multi-purpose space is cozy, welcoming, and made just for you. Whether you’ve recently listened to the featured album or you’re returning to it after a while, come as you are!

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

Reserve your spot

The Album Club: January 2026 Notes

Alex Lewis — Tue, 06 Jan 2026 10:22:14 GMT

Photo by Andy Jackson (Dazed)

I remember really enjoying Ravyn Lenae’s Bird’s Eye when I first heard it a few years back. But out of all the projects we’ve discussed so far at The Album Club, it’s the one I’ve spent the least amount of time with. That being said, I’m grateful to our wonderful facilitator for suggesting this album and inviting me to revisit it.

Similar to the featured artist from our last meeting, Saba, Lenae comes from the creative lineage of groundbreaking Chicago musicians, such as Chance the Rapper, Mick Jenkins, and Jamila Woods. Lenae’s first touring gig was with Noname. She adds to these artists’ heartfelt body of work with Bird’s Eye, which is Lenae, at 24 years old, guiding us through different seasons of her life.

Mirroring the arc of the album, Selah, our “Pilot” for the evening, started light, took us deep, and then brought us back to a gentle landing. With everyone sitting shoulder to shoulder, making Scatter Joy’s storefront feel cozier than it already is, the discussion felt intimate and invited folks to share openly about their thoughts and experiences.

One of my favorite points of the conversation was chatting about the third track on the album, “One Wish,” which features Childish Gambino. Lenae calls this “one of the most important songs on the album” because it highlights the complex relationship she’s had with her dad. In a letter she wrote about the song, Lenae shared, “Something valuable I’ve learned is being able to really humanize my loved ones and understand the context around people more deeply.”

During the discussion, we talked about estranged relationships in our lives that have shaped how we approach connecting with others. While some people openly shared about strained bonds with family and friends, one of the things that came up is people’s relationship with themselves. We’re handed imperfect instructions and expected to find our way, which often leads to disappointment whether it’s our own doing or comes at the hands of others.

While it’s tempting to want an easy way out—to use our “one wish” to wipe it all away—it’s the challenges and struggles that shape us. That doesn’t mean we glorify these difficulties, but they can be invitations to help us better understand ourselves and what we need from the relationships in our lives. They can guide us toward understanding our humanness and the different facets of who we are.

Gaining a greater sense of self doesn’t mean we have all the answers. I can learn more about who I am and what I want and still be “a pilot roaming.” As the lyrics to “Pilot” read, “I don’t know where to start / Can’t say where I began.” Uncertainty is normal. As Da’Jah noted, society isn’t set up for us to easily change direction. But the beauty of this transitional album and the changing of the seasons, as Quanita shared, is that the bird’s perspective (or bird’s eye) changes when leaving for migration and when it returns.

A new year can be many things, but when distilled, it’s simply a set of days. An opportunity to determine how you want to fill your time and what you want to bid farewell. On “Days,” Lenae finds a “better me.” In the year ahead, I want my days to be what they’re meant to be. I say goodbye to the pressure to always have something cooking. I say goodbye to the scarcity of staying relevant. I choose to ease in; to make time to gather and take pride in going at my own pace.

We may not know where we’re going or where we’re roaming to, but at least our eyes are open. At least we’re figuring it out together. Not lost, just wandering toward a better future. I’m grateful I get to practice this future with Selah and everyone who joined last night’s discussion on Bird’s Eye. Our next meeting is scheduled for Monday, February 2 at 7:30pm. Looking forward to sharing more details in the coming weeks!

For updates on future Album Club meetings, follow my Instagram and The Scatter Joy Project!

Even if you’re unable to join The Album Club in person, let’s continue the conversation in the comments. Feel free to answer any or all of the questions Selah outlined for last night’s discussion on Ravyn Lenae’s Bird’s Eye:

What season does this album—or specific songs—remind you of?
What’s an estranged relationship that impacts how you connect with others?
What are some ways that you have felt like “a pilot roaming”?
As you enter 2026, what do you want your days to look like? What are you glad to say goodbye to?

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The Album Club: Ravyn Lenae - Bird's Eye

Alex Lewis — Sat, 20 Dec 2025 15:25:22 GMT

Hey y’all,

With the holidays right around the corner, I’m thinking of you and hope there’s love everywhere you look. I’m dropping in to announce that we’ll kick off the new year on January 5th for our next meeting of The Album Club — a monthly gathering for music nerds and those looking to connect with each other. I host these sessions on the first Monday of every month in partnership with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible.

The Album Club is like a book club but for music. We meet to discuss one album in full. The sound, the lyrics, the stories. During our last session, we discussed CARE FOR ME by Saba, and the conversation surprised me in all the best ways.

Our next album is Ravyn Lenae’s Bird’s Eye. The homie suggested this project and will be guiding our discussion. Come through for your new favorite hangout!

RSVP here

Bird’s Eye is the second studio album from singer-songwriter Ravyn Lenae. Released in August 2024, the record finds Lenae reflecting on the growth she experienced in her early 20s. The Chicago vocalist’s sophomore effort, which is cited by many as one of the best albums of last year, caused significant stir after receiving no nominations at the 2026 Grammy Awards.

Here are a few links to better understand Lenae’s second album:

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

Reserve your spot

The Album Club: December 2025 Notes

Alex Lewis — Tue, 02 Dec 2025 10:22:30 GMT

I’ve been listening to Saba since he first appeared on Chance the Rapper’s “Angels,” and last night, I got to join with others in discussing his second album, CARE FOR ME. Music can be many things, but I love when it’s an invitation to better understand ourselves and each other. That’s what this album seemed to be for Saba, and it’s what my dear friend, , guided us toward as he led the discussion for our second-ever Album Club.

Especially this early on, I’ve been telling people that I’m along for the ride just as much as the folks in attendance. As we continue, I’m excited to get more people leading conversations about the albums they love most—and as someone I often geek out about music with face-to-face and in our group chat, Koku was the perfect person to be our first guest facilitator.

CARE FOR ME isn’t an easy album to talk about; it’s Saba grieving the murder of his cousin, Walter “John Walt” Long Jr., who was also a member of the Pivot Gang rap collective along with Saba and others. Walter’s death serves as the impetus for the album and played a bigger role in the project’s formation than Saba initially realized.

I didn’t know what to expect from the conversation, especially in a room full of people, but I’m amazed at how open folks were as Koku used the album as a guide to explore our own experiences with loss, grief, and finding peace.

On “LIFE,” Saba shares how he believes death is obsessed with him. He expands on this line for Genius, noting how “the element of death haunts the writing of the song.” All of us have witnessed death in some way; its inevitability, as noted by Nykeia during last night’s discussion, is something that bonds us together.

As folks vulnerably shared their memories of loss—some wounds more recent than others—there was an emphasis placed on facing these memories instead of trying to avoid them. That’s one of the things I appreciate most about how Saba approached CARE FOR ME. He didn’t write around his pain; he wrote his pain as plainly as he could.

In studying for last night’s meeting, I spent the morning prior sitting with the album’s lyrics and making note of anything that stood out. This led me to journaling while I listened to “LIFE” on repeat. I let my pen run free as I dug up childhood memories I don’t always stop to reflect on. This helped me find language for how I consider these experiences and the ways they’ve shaped me as I’ve grown older.

There are no clean answers or endings, as one of the homies noted during our discussion. The goal of grieving isn’t to figure out the pain; it’s to make space for the pain to breathe so we, too, can breathe easier. It felt like a collective exhale as we acknowledged that everyone experiences and approaches pain differently, which means that our paths toward healing also look different.

The best we can do is hold space for each other to feel, and I’m grateful we had an opportunity to create that space for one another during last night’s Album Club.

The final track on CARE FOR ME is “HEAVEN ALL AROUND ME,” a song written from the perspective of Walter entering Heaven. And while the idea and existence of Heaven looks different for all of us, the room last night with chairs gathered all around resembled Heaven on Earth in a way that Taylor described with one word: healing.

The openness of last night’s conversation is a testament to Saba’s vulnerability on CARE FOR ME, the inviting spirit that Koku brings into the everyday, and everyone’s courage and generosity to see what this gathering could be. I’m so grateful and can’t wait to join back together in the new year. Our next meeting will be on Monday, January 5 at 7:30pm. I’ll share more details in the coming weeks!

For updates on future Album Club meetings, follow my Instagram and The Scatter Joy Project!

Even if you’re unable to join The Album Club in person, let’s continue the conversation in the comments. Feel free to answer any or all of the questions Koku outlined for last night’s discussion on Saba’s CARE FOR ME:

Which motifs, themes, or narrative threads stand out to you on the album?
What are some ways you personally deal with grief or emotional overwhelm?
Do you think a search for someone you’ve lost ever truly ends? Or is it something that continues in different forms throughout life?
What does “Heaven” look like for you, whether literally or as a personal source of peace and meaning?

Leave a comment

The Album Club: Saba - CARE FOR ME

Alex Lewis — Tue, 18 Nov 2025 17:31:08 GMT

Hey y’all,

I hope you’re hanging in there alright. I’m dropping in to announce that we’re getting back together on December 1st for another meeting of The Album Club — a monthly gathering for music nerds and those looking to connect with each other. I host these sessions on the first Monday of every month in partnership with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible.

The Album Club is like a book club but for music. We meet to discuss one album in full. The sound, the lyrics, the stories. For our first session earlier this month, we discussed SABLE, fABLE by Bon Iver, and it was incredible. But don’t just take it from me. Read about Thomas’ experience.

Our next album is Saba’s CARE FOR ME. The homie suggested this project and will be guiding our discussion. Come through for your new favorite hangout!

RSVP here

CARE FOR ME is the second studio album from Chicago rapper Saba. Released in April 2018, the project finds Saba exploring loss, grief, and self-discovery after his cousin’s murder. Saba’s sophomore effort is critically acclaimed with standout tracks like “BUSY / SIRENS” and “LIFE.”

Here are a few links to better understand Saba’s second album:

Review: Pitchfork
Video: CARE FOR ME Vlog
Video: “LIFE” Breakdown
Video: NPR Music Tiny Desk Concert
Video: MTV News Interview
Video: A Comprehensive Breakdown of Saba’s CARE FOR ME
Music Video: “LIFE”

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

Reserve your spot

The Album Club: November 2025 Notes

Alex Lewis — Tue, 04 Nov 2025 10:22:14 GMT

Artwork for Bon Iver’s SABLE, EP & SABLE, fABLE

I’ve been living with songs from Bon Iver’s SABLE, fABLE since last October and have already gone on record naming it as my favorite album of 2025 (so far). My deeper reflections on the project began back in August during the chordinnation’s virtual album club. But last night, I got to discuss the album with neighbors right in my city of Columbus, Ohio.

The Album Club began as a curiosity. What would it look like to bring people together like you would a book club and, instead of studying a novel, discuss one album in its entirety?

There’s a Ross Gay quote I love that I can’t stop thinking about where he says, “Noticing what we love in common, and studying that, might help us survive.”

Much of my creative work, especially over the past few years, has been rooted in this idea that writing about my beloveds might invite you to consider yours. It might inspire you to look beyond yourself and recognize how your life is attached to someone else’s.

I’ve returned to music in many of my essays as a vehicle for helping me find language to explore my own emotions but also as a tool to consider the commonalities between us. There’s a hope in the formation of these bonds that maybe we can deepen our capacity for care. Maybe we can forego the harmful individualism that we’re so often pushed toward and instead draw closer to each other.

I witnessed that hope come to fruition as familiar faces and new friends gathered at The Scatter Joy Project’s brick-and-mortar shop on North High Street to discuss SABLE, fABLE — and more importantly, to be together.

As noted by one of our attendees, Thomas Costello, who also happens to be an incredible writer (and wrote about The Album Club ahead of our first meeting), “The album talk itself fosters conversation and relationship but the non-album talk was equally valuable, maybe more.”

But not dismissing the album talk, I loved the discussions throughout the meeting and gained some new perspectives on a project I’ve already gathered so much about. Split up into smaller groups, people shared their feelings on a range of topics, including the music itself, the cover art, and the musical and emotional trajectories of Bon Iver frontman Justin Vernon.

One of the takeaways I loved was when Matthew shared how the album art reminded them of a window. They noted how Vernon started writing songs for SABLE, fABLE during the COVID-19 lockdown in 2020. The artwork is, in some ways, reminiscent of the opening Vernon might have looked out of while writing alone from his cabin in Eau Claire, Wisconsin, which resembles how he made Bon Iver’s debut album over 18 years ago.

I thought about how the cover art for the SABLE, EP and subsequent album are inverses of each other. They create a yin-yang effect where the primary colors, salmon and black, aren’t separate from each other but live within one another. While it’s easy to look at the two discs of the album — the SABLE and fABLE — as separate entities, or even to look at Vernon’s newer music as a departure from his earlier work, one informs the other, and they’re never fully apart.

The vibrance and shadows coexist. Especially at a time when loneliness is more prevalent than ever despite people being more connected than they’ve ever been, and when we’re faced with new horrors every day, the heaviness of it all can feel inescapable. And of course, these troubles require our time and attention. We must face the mess and not run from it. But for those of us who can, we must also peek our heads out every once in a while and remember that it’s not all darkness.

In my research, I learned that the music video for “AWARDS SEASON,” which is the last song on SABLE before transitioning to fABLE, ends with Vernon exiting the cabin where the videos for the rest of SABLE are filmed. He leaves behind the suffocating darkness and sets his eyes on the sun. What once felt impossible to reach is now his reality, even if just for a moment.

The Album Club isn’t some kind of utopia where all the world’s troubles go away; it’s us choosing to meet each other in the world, amid all the troubles, and bask in the light of each other’s company and openness. We cling to that warmth even as the days get darker and months grow colder. We remember that the lonesome of our own cabins isn’t all there is. Yes, there are shadows. But there’s salmon, too. And maybe, just maybe, new worlds lie within.

I’m so grateful for everyone who joined our first Album Club meeting and can’t wait to come back together to discuss another album on Monday, December 1 at 7:30pm. I’ll share more details in the coming weeks!

For updates on future Album Club meetings, follow my Instagram and The Scatter Joy Project!

You're Invited: The Album Club

Alex Lewis — Mon, 20 Oct 2025 17:11:21 GMT

Hey y’all,

I hope you’re hanging in there alright. I’m here to announce that I’m partnering with The Scatter Joy Project, a mental health nonprofit making care and resources more accessible, to create a monthly gathering for music nerds and those looking to connect with each other. The Album Club is like a book club but for music.

Starting November 3rd, on the first Monday of every month, we’ll meet to discuss one album in full. The sound, the lyrics, the stories. I’m an album listener who loves geeking out with other people about the albums I’m obsessed with and can’t wait to hear what you’re loving, too!

In recent months, I’ve gotten to be a part of ’s virtual album club—and I’m thankful the folks at Scatter Joy were just as excited as I am to bring these conversations to life at their storefront in Columbus, Ohio.

Our first album will be Bon Iver’s SABLE, fABLE, which I recently wrote about. Come through for your new favorite hangout!

RSVP here

SABLE, fABLE is the latest album from Justin Vernon’s music collective, Bon Iver. Released in April 2025, the album shows Vernon finding love, testing its limits, and daring to feel something beyond darkness. In lieu of not touring this record, Vernon has done more interviews about SABLE, fABLE than he has for any of his previous projects.

Dropping a few links below as a mini listening guide for our first meeting:

The Album Club will be at The Scatter Joy Storefront in Columbus’ Short North Arts District, located at 986 North High Street. The multi-purpose space is cozy, welcoming, and made just for you. Whether you’ve recently listened to the featured album or you’re returning to it after a while, come as you are!

The event is free for all attendees thanks to support from The Scatter Joy Project. We just ask that you RSVP in advance, so we can plan accordingly. Hope to see you there!

RSVP here