In The Hour Of Chaos
Allison Russell
In the Hour of Chaos is Allison Russell’s third solo album, released on July 10, 2026, and framed by Russell and her label as a “collaborative song suite” and a fervent plea for connection in a time of alienation, isolation, and dread. Spanning 11 tracks and about 41 minutes, the record was made with her returning production team dim star (JT Nero and Drew Lindsay) and issued via Concord/Fantasy, with Russell positioning it as less a conventional “third solo record” and more like a mixtape to a musical yet to be written. Musically, it is deeply genre-fluid, weaving together elements of folk, country, R&B, neo-soul, jazz, gospel, and pop, with reviewers describing it as “driving like a country record” while packing “pure, redemptive soul under the hood.”
The album is intensely collaborative: Russell invites 28 other artists into an “ebullient community of song,” including Norah Jones, Joy Oladokun, Brittney Spencer, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma, and harpist Ahya Simone, with many tracks functioning as duets or ensemble pieces. Songs like Rainbows (an opening hymn of hope), No Springtime (with Joy Oladokun and Julie Williams), Cold April (an uptempo, pop-inflected track featuring Kara Jackson, Denitia, and the Explore! Community Pop Choir that includes Russell’s daughter Ida), Black Lavender (with Brittney Spencer), and Really Real (a sanctuary-of-love duet with Norah Jones) affirm resilience and communal care in the face of political, social, and personal chaos. On tracks such as Chaos Theory (with Kyshona and Sara Watkins) and Two Stars (with Chibueze Ihuoma), Russell explicitly addresses climate anxiety, systemic violence, and despair, but repeatedly turns toward encouragement and solidarity—promising to be a refuge and insisting that “you can kill the bird, but not the birdsong,” casting joy, connection, and the act of making music together as radical, healing practices.
In the Hour of Chaos is Allison Russell’s third solo album, released on July 10, 2026, and framed by Russell and her label as a “collaborative song suite” and a fervent plea for connection in a time of alienation, isolation, and dread. Spanning 11 tracks and about 41 minutes, the record was made with her returning production team dim star (JT Nero and Drew Lindsay) and issued via Concord/Fantasy, with Russell positioning it as less a conventional “third solo record” and more like a mixtape to a musical yet to be written. Musically, it is deeply genre-fluid, weaving together elements of folk, country, R&B, neo-soul, jazz, gospel, and pop, with reviewers describing it as “driving like a country record” while packing “pure, redemptive soul under the hood.”
The album is intensely collaborative: Russell invites 28 other artists into an “ebullient community of song,” including Norah Jones, Joy Oladokun, Brittney Spencer, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma, and harpist Ahya Simone, with many tracks functioning as duets or ensemble pieces. Songs like Rainbows (an opening hymn of hope), No Springtime (with Joy Oladokun and Julie Williams), Cold April (an uptempo, pop-inflected track featuring Kara Jackson, Denitia, and the Explore! Community Pop Choir that includes Russell’s daughter Ida), Black Lavender (with Brittney Spencer), and Really Real (a sanctuary-of-love duet with Norah Jones) affirm resilience and communal care in the face of political, social, and personal chaos. On tracks such as Chaos Theory (with Kyshona and Sara Watkins) and Two Stars (with Chibueze Ihuoma), Russell explicitly addresses climate anxiety, systemic violence, and despair, but repeatedly turns toward encouragement and solidarity—promising to be a refuge and insisting that “you can kill the bird, but not the birdsong,” casting joy, connection, and the act of making music together as radical, healing practices.
In the Hour of Chaos is Allison Russell’s third solo album, released on July 10, 2026, and framed by Russell and her label as a “collaborative song suite” and a fervent plea for connection in a time of alienation, isolation, and dread. Spanning 11 tracks and about 41 minutes, the record was made with her returning production team dim star (JT Nero and Drew Lindsay) and issued via Concord/Fantasy, with Russell positioning it as less a conventional “third solo record” and more like a mixtape to a musical yet to be written. Musically, it is deeply genre-fluid, weaving together elements of folk, country, R&B, neo-soul, jazz, gospel, and pop, with reviewers describing it as “driving like a country record” while packing “pure, redemptive soul under the hood.”
The album is intensely collaborative: Russell invites 28 other artists into an “ebullient community of song,” including Norah Jones, Joy Oladokun, Brittney Spencer, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma, and harpist Ahya Simone, with many tracks functioning as duets or ensemble pieces. Songs like Rainbows (an opening hymn of hope), No Springtime (with Joy Oladokun and Julie Williams), Cold April (an uptempo, pop-inflected track featuring Kara Jackson, Denitia, and the Explore! Community Pop Choir that includes Russell’s daughter Ida), Black Lavender (with Brittney Spencer), and Really Real (a sanctuary-of-love duet with Norah Jones) affirm resilience and communal care in the face of political, social, and personal chaos. On tracks such as Chaos Theory (with Kyshona and Sara Watkins) and Two Stars (with Chibueze Ihuoma), Russell explicitly addresses climate anxiety, systemic violence, and despair, but repeatedly turns toward encouragement and solidarity—promising to be a refuge and insisting that “you can kill the bird, but not the birdsong,” casting joy, connection, and the act of making music together as radical, healing practices.
In The Hour Of Chaos
Allison Russell
In the Hour of Chaos is Allison Russell’s third solo album, released on July 10, 2026, and framed by Russell and her label as a “collaborative song suite” and a fervent plea for connection in a time of alienation, isolation, and dread. Spanning 11 tracks and about 41 minutes, the record was made with her returning production team dim star (JT Nero and Drew Lindsay) and issued via Concord/Fantasy, with Russell positioning it as less a conventional “third solo record” and more like a mixtape to a musical yet to be written. Musically, it is deeply genre-fluid, weaving together elements of folk, country, R&B, neo-soul, jazz, gospel, and pop, with reviewers describing it as “driving like a country record” while packing “pure, redemptive soul under the hood.”
The album is intensely collaborative: Russell invites 28 other artists into an “ebullient community of song,” including Norah Jones, Joy Oladokun, Brittney Spencer, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma, and harpist Ahya Simone, with many tracks functioning as duets or ensemble pieces. Songs like Rainbows (an opening hymn of hope), No Springtime (with Joy Oladokun and Julie Williams), Cold April (an uptempo, pop-inflected track featuring Kara Jackson, Denitia, and the Explore! Community Pop Choir that includes Russell’s daughter Ida), Black Lavender (with Brittney Spencer), and Really Real (a sanctuary-of-love duet with Norah Jones) affirm resilience and communal care in the face of political, social, and personal chaos. On tracks such as Chaos Theory (with Kyshona and Sara Watkins) and Two Stars (with Chibueze Ihuoma), Russell explicitly addresses climate anxiety, systemic violence, and despair, but repeatedly turns toward encouragement and solidarity—promising to be a refuge and insisting that “you can kill the bird, but not the birdsong,” casting joy, connection, and the act of making music together as radical, healing practices.
In the Hour of Chaos is Allison Russell’s third solo album, released on July 10, 2026, and framed by Russell and her label as a “collaborative song suite” and a fervent plea for connection in a time of alienation, isolation, and dread. Spanning 11 tracks and about 41 minutes, the record was made with her returning production team dim star (JT Nero and Drew Lindsay) and issued via Concord/Fantasy, with Russell positioning it as less a conventional “third solo record” and more like a mixtape to a musical yet to be written. Musically, it is deeply genre-fluid, weaving together elements of folk, country, R&B, neo-soul, jazz, gospel, and pop, with reviewers describing it as “driving like a country record” while packing “pure, redemptive soul under the hood.”
The album is intensely collaborative: Russell invites 28 other artists into an “ebullient community of song,” including Norah Jones, Joy Oladokun, Brittney Spencer, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma, and harpist Ahya Simone, with many tracks functioning as duets or ensemble pieces. Songs like Rainbows (an opening hymn of hope), No Springtime (with Joy Oladokun and Julie Williams), Cold April (an uptempo, pop-inflected track featuring Kara Jackson, Denitia, and the Explore! Community Pop Choir that includes Russell’s daughter Ida), Black Lavender (with Brittney Spencer), and Really Real (a sanctuary-of-love duet with Norah Jones) affirm resilience and communal care in the face of political, social, and personal chaos. On tracks such as Chaos Theory (with Kyshona and Sara Watkins) and Two Stars (with Chibueze Ihuoma), Russell explicitly addresses climate anxiety, systemic violence, and despair, but repeatedly turns toward encouragement and solidarity—promising to be a refuge and insisting that “you can kill the bird, but not the birdsong,” casting joy, connection, and the act of making music together as radical, healing practices.
In the Hour of Chaos is Allison Russell’s third solo album, released on July 10, 2026, and framed by Russell and her label as a “collaborative song suite” and a fervent plea for connection in a time of alienation, isolation, and dread. Spanning 11 tracks and about 41 minutes, the record was made with her returning production team dim star (JT Nero and Drew Lindsay) and issued via Concord/Fantasy, with Russell positioning it as less a conventional “third solo record” and more like a mixtape to a musical yet to be written. Musically, it is deeply genre-fluid, weaving together elements of folk, country, R&B, neo-soul, jazz, gospel, and pop, with reviewers describing it as “driving like a country record” while packing “pure, redemptive soul under the hood.”
The album is intensely collaborative: Russell invites 28 other artists into an “ebullient community of song,” including Norah Jones, Joy Oladokun, Brittney Spencer, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma, and harpist Ahya Simone, with many tracks functioning as duets or ensemble pieces. Songs like Rainbows (an opening hymn of hope), No Springtime (with Joy Oladokun and Julie Williams), Cold April (an uptempo, pop-inflected track featuring Kara Jackson, Denitia, and the Explore! Community Pop Choir that includes Russell’s daughter Ida), Black Lavender (with Brittney Spencer), and Really Real (a sanctuary-of-love duet with Norah Jones) affirm resilience and communal care in the face of political, social, and personal chaos. On tracks such as Chaos Theory (with Kyshona and Sara Watkins) and Two Stars (with Chibueze Ihuoma), Russell explicitly addresses climate anxiety, systemic violence, and despair, but repeatedly turns toward encouragement and solidarity—promising to be a refuge and insisting that “you can kill the bird, but not the birdsong,” casting joy, connection, and the act of making music together as radical, healing practices.