Justin Devereux - Nickels & Dimes (2025) Hi Res

On his debut album Nickels&Dimes, Justin Devereux presents a well-produced, musically polished collection of Americana and country influenced songs that showcase both his lyrical sincerity and the talents of a skilled supporting cast.

Though now based in Los Angeles, Devereux returned to his native Auckland to record all but one of these tracks at Roundhead Studios. The remaining track, Midnight Dawning, was recorded at Studio City Sound in Los Angeles.

Devereux co-produced the album with De Stevens, a versatile New Zealand musician and producer known for his work in indie, lo-fi, and alternative scenes. Stevens brings a distinctly layered, clean studio sound that complements the album’s warm, melodic core.

The core band features Devereux on acoustic guitar and vocals, supported by Jonathan (JB) Burgess or Glenn “Chip” Matthews on bass. Burgess brings a background in theatrical sound design and alternative music, while Matthews is known for his work with hip-hop and soul-infused acts. Alex Freer, a drummer best known for his work with Tiny Ruins and his synth-pop solo project A.C. Freazy, handles drums with control and precision. Additional guitars were provided by Neil Watson, a genre-crossing guitarist and academic whose credits span from Tami Neilson to jazz and orchestral collaborations.

Together, this ensemble creates a sonic backdrop that is at once smooth and skillful, reflecting both the polish of the studio environment and the collective experience of a group of musicians who know their way around a song.

With a mix of acoustic introspection and full-band polish, Devereux delivers an album that is steeped in classic songwriting forms, executed with top tier musicianship and a complementary visual aesthetic of grainy film, denim shirts, and vintage hats.

The production values are immediately apparent. From the chiming guitars and steady drums of opening track Let It Rain, the record feels built for clarity and cohesion. A meditative mood is set early with lines like “peace in the sound of water,” and whilst the vocals are smooth they are often low in the mix. As such they sometimes struggle to cut through the glossy arrangements to deliver emotional impact.

Lyrically, Devereux is at his most compelling on songs like the yearning Starring in My Dreams which drifts gently on acoustic strums, capturing a tender fragility and ambiguity as the narrator reflects on a lover who now only appears in dreams. Similarly, Go, Going, Gone is rougher edged, and the rawer sound connects with the emotions of the lyrics.

Several songs explore the tension between connection and dislocation, with sonic arrangements that emphasise the lyrical themes. Coming to a Town Near You evokes literal and emotional movement through its rolling acoustic rhythm. Within You, is driven by an almost glam-rock backbeat, adding urgency and uplift.

Dirty Water is the most sonically varied song on the album, shifting from a gentle intro to fuller sound, while its lyrics touch on redemption and moral complexity. Nature Isn’t That Kind opens delicately, then swells, pairing lyrical melancholy with restrained force.

On Yada Yada Yada, the central refrain risks undercutting itself with repetition, even if it’s meant ironically. Similarly, the musical arrangements occasionally lean towards soft rock stylings, like late-’70s Foreigner or John Mellencamp, which dampen the emotional impact of the lyrics.

Other influences include Nathaniel Rateliff in the gospel-tinged Midnight Dawning, traces of Tom Petty in the heartland-rock pacing, and lyrical nods to Jason Isbell in the more reflective moments. The performances are all technically superb, though you might sometimes wish for a little more dirt, danger, or unpredictability in the mix.

Nickels&Dimes will resonate most with listeners who appreciate well-crafted, emotionally earnest songwriting delivered with studio polish. Beneath the smooth surface, there is a thoughtful songwriter whose voice may emerge more clearly in future releases.