Seattle’s own Great Grandpa consisting of Al Menne (Lead vocals), Pat Goodwin (Guitar and backing vocals), Carrie Goodwin (Bass and backing vocals), Cam LaFlam (Drums and backing vocals) and Dylan Hanwright (Guitar and backing vocals) have always been a band unafraid to evolve. Emerging in 2014, they first caught my attention with the Can Opener EP in 2015, a raw introduction that laid the groundwork for their grunge-pop identity. I’m still head over heels for the version of ‘Mostly Here’ on there. The 2017 debut album, Plastic Cough, solidified this sound, blending gritty guitars with catchy hooks that echoed their Seattle roots. That one two punch of ‘Teen Challenge’ and ‘Favourite Show’ remains one of the strongest openings to any album.
However, it was with 2019’s Four of Arrows that the band showcased a remarkable transformation, venturing into more expansive indie rock territories, rich with introspective lyricism and intricate arrangements. This evolution showing their willingness to push boundaries and defy expectations. ‘Digger’ had structural DNA with Plastic Cough era songs but was still fresh and exciting sounding. The heartbreaking ‘Split Up the Kids’ always kills me. I’m not sure if it’s Menne’s powerful vocal delivery or Goodwins from the heart lyrics but it gets me every time.
Now, after a five-year hiatus marked by personal journeys and geographical separations, Great Grandpa return with Patience, Moonbeam. This album emerges from a period of uncertainty and growth, reflecting the band’s resilience and deepened camaraderie. Each member’s individual path—be it Menne’s solo endeavours in Los Angeles, Pat and Carrie Goodwin’s family life in Denmark, Hanwrights new marriage and production work or LaFlams bookstore venture—has woven new threads into the band’s collective tapestry, enriching their sonic palette.
The phrase “patience, moonbeam,” comes from an inside joke in Carrie’s family. With patience came more freedom. Patience, Moonbeam emerged slowly through a generous, generative demoing process, with Dylan at the helm of the production and mixing. They picked up the threads of the tracks they began years ago and completely reworked each song all working together to create the finished album. On this process Menne had this to say.
“There’s a lot of interesting texture to be found, when something has been worked, reworked, left to sit, and then worked again years later.”
So, what does this album sound like. Let’s drop the needle and hear for ourselves.
The album opens with the tone poem ‘Sleep’, unfolding like the slow dawn of a fragile dream. But beneath the fragility lies an undercurrent of tension, hinted at by the eerie, reverb-drenched harmonics. This is something totally new for the band and I’m here for it.
This segues into ‘Never Rest’. Beginning with an orchestral flourish and gently plucked acoustic guitar against the softest whisper of Menne’s vocals, it feels almost weightless. Then it all stops and begins again anew. The track is driven by a restless energy, its rhythm section playing cat-and-mouse with shifting time signatures. LaFlam is one the best drummers on the scene for my money and his quality shows here. There’s something of the Beatles in the McCartneyesque endings to each verse. It’s all Great Grandpa in the closing minute though. That’s how you kick off an album.
Released as the album’s lead single, ‘Junior’ is a hazy, nostalgia-soaked character study. The song’s guitar tones shimmer in a way that feels almost mirage-like, floating over a rhythmic foundation that ebbs and flows unpredictably. The chorus is a highlight, swelling into a bittersweet release where Menne’s voice stretches skyward. Lyrics talk of pulling off “light crimes with my buddies all night” and “He went swinging with a young man’s wiles. I saw him twirling and punching wild” framing our protagonist in a poor light. This song has a sun-soaked country-tinged air to it which is something the band revisit later in the album. More on that later.
‘Emma’ strips everything back to just Menne’s voice and an achingly sparse acoustic guitar for its opening moments, before LaFlam’s sympathetic drums lifts the song a notch. The song is a letter to a lost friend or lover, its lyrics drenched in both grief and gratitude. The slow build mirrors the emotional weight. It’s a masterclass in restraint, proving that sometimes the quietest songs can leave the deepest impact.
A whimsical departure from the album’s weightier themes, ‘Ladybug’ introduces a playful, almost disco shuffle to proceedings. This sounds like a band having a lot of fun. The group singing in the breaks sounds like every band member and more round a mic just having a blast. Lyrically it’s also really playful. I particularly love the line “Semitones are the distance between lines, All I think about is you sometimes, all the time”. Isn’t that just lovely? Again, there are Country flourishes here and there.
One of the album’s most adventurous compositions, ‘Kiss the Dice’ is a twisting, 80’s inflected exploration of fate and chance. Synth guitars keep time as well as providing the melody. When the drums arrive, they sit back and do just enough to carry the song over the line. This allows those glorious vocals to shine. This song is way too short, I was craving to hear where it would go. I guess its better to leave em wanting more.
More is what we get with ‘Doom’. Moving with an unpredictable, winding structure, transitioning from sparse, spoken-word verses to swelling, orchestral sections that feel almost theatrical. The drum work here is especially noteworthy, employing unconventional rhythms and unexpected pauses that keep the listener on edge. The song’s tension is palpable, and when it finally releases into its final, crashing crescendo, it feels like exhaling after holding your breath for too long. Radiohead would kill for this song.
‘Task’ is what I would term classic Great Grandpa. Great storytelling, great melody choices and great dynamics. As always there’s newer sounds in the mix, this time a gently plucked banjo maintaining that country thread. It’s not until the final minute that the song finally resolves into its final triumphant form, choral and acoustic. Just beautiful.
That country theme continues into ‘Top Gun’ next. Some gorgeous pedal steel playing nuzzles up close to Menne’s tempered vocal delivery. This is a mature song which speaks to where the band all are in the lives now. As ballads go it doesn’t get much better than this.
The title track ‘Patience, Moonbeam’ appears next momentarily, some layered vocal backing tracks echo out for the shortest time and they’re gone again.
The experimentation continues in earnest next with ‘Ephemera’. Vocals, highly produced and sparkly are delivered over a nineties pop inspired backing. It’s all there even down to the wicky wicky record scratches. I think this was placed near the end to say……..yup we are still evolving, still trying new things. Gotta love that!
The album closes out with stunningly beautiful ‘Kid’. It unfolds like a mini rock opera and has been constructed with love, that much is clear. Pat and Carrie wrote the song in the aftermath of the loss of their first pregnancy. “Things will happen when the timing is right,” Carrie reflects of that time, a sentiment that became the song’s glowing ember, and perhaps a mantra for the album itself: “All good things in time define their meaning.”
Patience, Moonbeam is a deeply woven tapestry of personal growth, sonic exploration, and emotional depth. Great Grandpa have always had an affinity for evolution, and this record proves they are a band unwilling to settle into one mould.
This album is the sound of a band who have weathered change and come out the other side stronger, more fearless, and more committed to their artistry than ever before. Every track is a testament to the members’ individual journeys and their ability to come together to create something greater than the sum of its parts. It’s a record that doesn’t demand immediate gratification but instead rewards patience—each listen revealing new layers, textures, and emotions. Great Grandpa have once again redefined themselves, proving that evolution isn’t just part of their DNA; it’s their driving force.
Patience, Moonbeam is out on March 28th 2025 via Run For Cover Records. Head over to the Great Grandpa Bandcamp page and give them a follow.
You can follow Great Grandpa on social media here…
Photo Credits
Bailey Payne
rbennettphotography
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