It feels worth saying out loud in this era of rigid thinking: there’s nothing wrong with changing your mind.
Six years ago, Sheryl Crow announced that her then-upcoming new studio album Threads would be her last because she didn’t really see the point in making another. When 10,000 streams don’t earn enough to pay for dinner, you can’t blame someone for throwing up their hands; the financial incentive just isn’t there anymore for most artists to make new music (and Rock & Roll Hall of Famer Crow does not need “exposure,” thank you very much).
So there has to be a reason other than money. And that’s the thing about songwriting, and creative work in general—it isn’t just a vocation, it’s a habit, and one that Sheryl Crow clearly hasn’t managed to shake. A side benefit is that Crow’s 2024 album Evolution arrived with no particular commercial intentions or expectations behind it; the goal was simply to make an album she was happy with. And she did. Teaming with producer Mike Elizondo, a multi-instrumentalist who handles much of the instrumental backing here, Crow made exactly the album that she wanted to make, that shows off all of her familiar strengths and quirks, while also demonstrating continued growth. 
The set kicks off with a bang as propulsive single “Alarm Clock” offers a fuzzy-buzzy guitar hook that would have felt right at home on C’mon C’mon, paired with an oh-so-Crow stream-of-consciousness lyric contrasting a series of dreams with the harder reality. Then “Do It Again” enters with a steady-on Sheryl Crow-era groove with a touch of r&b swing and a hazy New Age hippie lyric, a co-write with old pal John Shanks (“Steve McQueen”).
“Love Life” is another easy-going mid-tempo number with a loose, sing-songy feel and extended na-na chant that feels like it’s winking at Tuesday Night Music Club. Next up, “You Can’t Change The Weather” is a warm blast of zen philosophy co-written with longtime collaborator Jeff Trott, with a pleasant surge and classic rock feel.
The title track is an outlier, painting on a big canvas with a bold, orchestral feel featuring Rob Moose on strings and a wild, careening guitar solo from the guesting Tom Morello. Then another old pal, Bill Bottrell, stops by to co-write and play on “Where?” a dreamy, delicate ballad built around his acoustic guitar and Crow’s gentle lead vocal. “Don’t Walk Away” takes things down another notch, a spare, somber, quite pretty breakup ballad, just voice and piano until strings and synths gradually add texture.
Penultimate track “Broken Record” circles back around to channel some of that “Alarm Clock” energy, a bouncy rocker with Crow putting online trolls on blast. Loops, acoustic rhythm guitar and a sunny melody fuel “Waiting In The Wings,” which closes things out with a billowing crescendo.
The base album is concise at nine tracks and 36 minutes, but its deluxe edition is worth seeking out, adding a terrific cover / collaboration with Peter Gabriel on his “Digging In The Dirt” that captures the mysterious pull and churn of the original while adding warmth and intrigue as the pair’s voices intertwine. On “Digging,” and indeed throughout Evolution, Elizondo’s focus on rhythmic elements gives the music a steady pulse and tidal surge.
The addition of “Digging” elevates what might otherwise be described as a comfort food album. With a couple of notable exceptions, Evolution feels like a call-back to my favorite Sheryl Crow era, while featuring more thoughtful lyrics than she was capable of back then. It’s a mature album from a mature artist, who has indeed continued to evolve.