ALBUM REVIEWS
THE WAY
ALBUM REVIEW BY CHARLENE WHITLOCK
To the initiated, Dorothy is a name synonymous with raw, unbridled rock spirit, and their latest offering is certainly no exception.
‘The Way’ is an album that feels much less of a continuation of what has come before and would better be described as a full-blown re-emergence of a deeper spirit. Here is a record that plunges into the depths of the human experience, in all its messy glory, adds in some hooky noise and emerges with a defiant -almost spiritual- resilience: something which the world is totally in need of right now.
Let us be clear here, The Way has all the makings of not merely being an album; it is a visceral journey through the heart and history of alt-music and classic rock’n’roll, that picks up the best bits of what has gone before and creates a soundscape that is painted with the hues of country, a bit of blues and a splash of gospel, to create something original with the kind of soul searching lyrical exploration that will leave you breathless.
From the opening chords, The Way asserts itself with an unapologetic intensity and a confidence to stand proud by its messaging. The tracks work hard but effortlessly at exploring the narrative overtones, with “black sheep’ and ‘made to die’ standing out as cleat, conic battle cries. These could easily become anthems for the marginalised and defiant outsiders.
Then there is the eponymous Dorothy Martin’s vocals. A force of nature in their own right, they cut through the music with a serrated edge, standing as a physical embodiment of her unwavering conviction. The combination of trad sound and uber vocal talent evokes comparisons to the raw power of an early Janis Joplin, the bluesy swagger of Led Zeplin, or -more contemporaneously- the modern grit of Rival Sons. But Dpriothy very emphatically forges its own path, one that is paved with both authenticity and a distinct vulnerability.
‘Mud’ is another stand-out track, with a gritty down-to-earth vibe, resonating with a primal energy that could quite easily be underestimated on a first listen-through. The imagery it evokes is rich and the rhythm relentless, but there is a palpable emotional edge that refuses to be ignored. Topically, it is a song that speaks of the dirt (pun very much intended) and the struggle that makes up the foundation of human existence and will speak to everyone at some point in their lives.
Likewise, ‘Tombstone Town’ is a hauntingly evocative song, steeped in the melancholy atmosphere of its namesake, a feeling that lingers even once the song has finished. Lyrically, it is a stark reflection on mortality and the weight of things that have passed, a poignant reminder of the fragility of life and stands up in its own right as a track, even without the noted feature of Slash’s (of Guns and Roses fame) contribution, although that should not be downplayed either - one listen is enough to explain why they chose it for the first release.
Musically, ‘The Way’ is a masterclass in Rock craftsmanship, if a little familiar at times. But it is within this familiarity that we find the safety to explore topics that make us uncomfortable, something that the lyrics then go on to do, willfully. If the instrumentation errs towards predictability at some points, it is also rich and dynamic. With bluesy guitar riffs, thunderous drums and soulful organ flourishes that creates an aural tapestry which feels powerful and nuanced. The effect is a complexity which speaks of a musical heritage that has rarely featured in the charts in recent years.
With all of this instrumental variety, you would forgive ‘The Way’ from being overproduced, but that is far from the case here. Somehow, the album avoids the over-polished sheen that plagues many modern rock records, opting instead for a sound that is authentic and visceral. It appears to have been achieved with a type of production that is both raw and organic, almost like a live recording. It effectively captures the energy and unpredictability of a live musical performance, while also allowing Martin’s vocals to appear centre stage.
Most importantly this is an album in the classic sense - meant to be listened to in its entirety rather than as a collection of stand-alone singles. The overarching themes work as a tapestry of resilience, redemption and the search for meaning in a chaotic world: 2025 in a digestible soundbite. As such, Dorothy doesn’t shy away from the darker corners of the human psyche; instead, we confront them head-on, transforming pain into power in a way that feels timeless and entirely new at the same time. Plus, there is a spiritual undercurrent that weaves through the record, a sense of seeking something greater, a higher truth in a way. This is particularly evident in the more gospel-infused moments, where Martin’s vocals soar to an almost transcendent quality that is rarely found in modern, commercial music.
‘The Way’ is an album that is going to be around for a while, and it demands to be heard in concept as well as for a musical accompaniment to your day, it deserves more than to be merely listened to in passing. Dorothy have created a record that will resonate with anyone who has ever felt lost, broken, or in search of something more, and this moment in time is the perfect era for such an album.
We expect its popularity to be immediate, the fanbase alone will see to that, but to then grow over time as a testament to the power of music to heal and inspire and ignite a flame within.
This album is an experience. So press play, turn up the volume and let ‘The Way’ take you on a journey. You might just come away finding yourself transformed.