Few artists embody the restless creativity and deep reverence for rock’s golden era quite like Vancouver’s Pennan Brae. His latest release, Paint, out November 4, 2025, is a seven-track masterclass in authenticity, musicianship, and pure love for the craft. Seamlessly blending classic rock, funk, and country influences, the album feels like a long-lost vinyl gem rediscovered for a modern audience. It’s an unapologetically human record—warm, vibrant, and full of imperfections that make it feel alive.
At its core, Paint is a celebration of collaboration and musical chemistry. The album features none other than Steve Ferrone on drums—a living legend whose rhythm has graced recordings by Tom Petty and the Heartbreakers, Eric Clapton, and George Harrison. His grooves breathe life into every track, grounding Brae’s storytelling and melodic instincts with an unmistakable sense of class and precision. Recorded, mixed, and mastered with producer Kaj Falch-Nielsen at Blue Light Studio in Vancouver, Paint exudes a crisp analog warmth that feels both vintage and immediate.
From the opening track, It Ain’t Perfect But It’s Free, Brae sets the tone for what’s to come: an ode to the beauty of imperfection, to the freedom of expression that rock music has always promised. The song swings with confidence, its laid-back groove underscored by Ferrone’s effortless precision. The lyrics reflect Brae’s signature blend of humility and defiance, celebrating the simple joy of creating something honest in a world obsessed with polish and perfection. It’s a fitting introduction to an album that wears its heart on its sleeve.
Next comes Girl In The City, a tender country rock ballad that evokes long drives, late-night lights, and fleeting connections. The song showcases a softer side of Brae, his vocals rich with nostalgia and quiet yearning. The instrumentation, featuring lush strings from Vancouver Symphony Orchestra violinist Cameron Wilson, adds a cinematic touch. It’s a song that feels both intimate and expansive, echoing the wistful spirit of artists like Jackson Browne and Bryan Adams while maintaining Brae’s distinctive lyrical voice.
Take Me Back captures the restless energy of rock’s golden age with roaring guitars, punchy drums, and a chorus built for arena singalongs. It’s pure 70s adrenaline reimagined for today—a track that begs to be played loud. Ferrone’s drumming is particularly powerful here, propelling the song with effortless authority while Vinay Lobo’s guitar work cuts through with bright, melodic intensity. Together, they create a soundscape that feels classic yet fresh, a rare feat in an age of digital detachment.
The tempo shifts with Slide, a bluesy, swagger-filled rocker that channels the spirit of The Rolling Stones. It’s loose, gritty, and full of character—the kind of song that reminds you why guitar-driven rock will never truly die. There’s an unspoken conversation between Brae and his bandmates here, each instrument giving the other space to shine. Alison Jenkins’ harmonies add texture and warmth, while the horn section bursts in with vintage soul flair. The song captures the joy of musicians playing in real time, responding to one another instinctively, guided by feel rather than formula.
Say That You Will But You Won’t is one of the album’s standout moments, a bittersweet meditation on promises unkept and the tension between hope and disillusionment. Brae’s vocals carry a raw vulnerability that makes the song resonate deeply. The arrangement is elegant yet restrained, allowing emotion to take center stage. It’s a song that feels lived-in, the product of someone who has loved, lost, and learned to embrace both.
On Do What You Do, Brae leans fully into the funk-rock energy that defines much of Paint. The bass grooves deep, Ferrone’s drums snap with precision, and the horns punctuate the rhythm with swagger. The track is infectious—part jam session, part dance floor invitation. It’s the sound of seasoned musicians cutting loose and having fun, and that sense of freedom is contagious. You can almost picture the studio lights flickering as everyone locks into the groove.
The album closes with Synergy (With Horns), a track that encapsulates the entire spirit of Paint. It’s dynamic, soulful, and effortlessly cool. The interplay between the horn trio, Brae’s guitar, and Ferrone’s driving beat creates a sonic explosion that feels like a final bow to the record’s themes of connection and creativity. The title is fitting—this track is the epitome of musical synergy, a testament to what happens when great musicians come together with shared purpose and passion.
Beyond the music, Paint is also a feast for the senses. The album artwork, designed by Nathan Gowsell, features a striking image of a historic neon sign from East Vancouver—a nod to the city’s enduring character and creative heartbeat. It’s the perfect visual metaphor for the album itself: glowing, timeless, and rooted in authenticity.
What makes Paint stand out isn’t just its impressive lineup of contributors or its impeccable production—it’s its soul. Brae understands that rock music, at its best, isn’t about perfection but about connection. Every note, every lyric, every beat feels intentional yet spontaneous, polished yet organic. The album captures moments of joy, longing, and reflection, each track painting a new shade of Brae’s artistic palette.
In an era where so much music feels disposable, Paint reminds listeners of the enduring power of craftsmanship. It’s a love letter to the eras that shaped Brae’s sound—the raw rock grit of the 70s, the melodic warmth of the 80s—but it never feels stuck in the past. Instead, it reimagines those influences for a modern world that’s craving sincerity.
With Paint, Pennan Brae has created something rare: an album that feels both familiar and fresh, timeless and timely. It’s a record that refuses to chase trends, choosing instead to honor the essence of rock and roll—the freedom to create, to feel, and to be imperfectly human. Backed by Steve Ferrone’s rhythmic magic, Kaj Falch-Nielsen’s sonic craftsmanship, and an ensemble of world-class musicians, Brae has painted his most complete portrait yet.
This is rock music for the soul—vintage in spirit, modern in delivery, and undeniably alive. Paint isn’t just an album to hear; it’s an album to feel, a reminder that true artistry never fades, it only evolves.
