Canadian singer-songwriter Allen Dobb’s new album, The Afterlife Sessions, is a return to something foundational. Built entirely around acoustic instrumentation, the 11 tracks draw from a lifetime of listening, playing, and refining a songwriting voice rooted in folk, Americana, and lived experience. The result is a collection that feels both grounded and expansive, shaped by collaboration and guided by instinct.

“Recording The Afterlife Sessions felt like something I was always meant to do,” Dobb explains. “Growing up on the farm, I was surrounded with acoustic music. I just love the sympathetic sounds that are created by all the stringed instruments playing together.”

That vision came into focus through a series of organic connections. After first sharing a stage at a house concert, Dobb began developing the idea of recording with musicians Ryland Moranz and Dan Fremlin. A later performance at the Cowichan Valley Bluegrass Festival gave the project its momentum, leading to a four-day session at Vancouver’s Afterlife Studios.

At the heart of the album is its lead single, “Ballad of Willie Holmes,” a haunting yet uplifting folk narrative that reflects on memory, family, and the quiet weight of lived experience. Written instinctively, the song later revealed deeper personal connections.

“In hindsight, I came to realize I was writing about my dad,” Dobb shares. “He was partly embedded in the character of Willie Holmes.” The track’s imagery is rooted in real moments, including a Christmas Eve memory of his father navigating icy rural roads to make it home with supplies and presents. 

Simple in arrangement but resonant in feeling, “Ballad of Willie Holmes” reflects the album’s broader approach: stripping songs back to their emotional core. Without drums or heavy production, the focus remains on voice, story, and the interplay between instruments.

“I think this album has taught me to trust my own artistic sensibilities,” Dobb says. “It doesn’t take a lot of production adornment to bring my songs to life.”