It is quite rare for me to pick up a review as I am normally busy with other aspects of the magazine, but with an overworked little reviewing team I felt like lending a hand, and this new pair of singles by Natalie Del Carmen were too tempting to just leave aside! I think first and foremost she is a very interesting singer songwriter and with a new album coming out in January 2026 these two tracks both throw down a marker for what we can expect. Let me share the press release with you:
“Following her Americanafest debut, with performances at The Bluebird Café and Whiskey Jam, Natalie is carving out her place as one of Americana’s most promising new voices, making “Plans Upon Plans” a striking follow-up to lead single “El Cortez.”
“Writing ‘Plans Upon Plans’ felt like finally admitting there were heavy cracks in my belief system,” Natalie shares. “I realized the best things in life come without warning, and surely, no plan at all.”
Raised in Los Angeles but deeply drawn to pastoral storytelling, Natalie’s sound recalls Brandi Carlile, Gregory Alan Isakov, and The Lumineers. Her 2023 debut “Bloodline” and follow-up singles earned praise from outlets like The Bluegrass Situation, Atwood Magazine, Ditty TV, Holler, and Buzzbands LA, with Pastures continuing to sharpen her voice through rich acoustic textures and candid songwriting.
Her forthcoming album “Pastures,” is set for release January 30 via Torrez Music Group. Following her debut at Americanafest, the track blends heartfelt songwriting with a soulful, warm soundscape, layering organ, fiddle, and the soft brush of guitar strings to create a rooted resonance. “Plans Upon Plans” is out now on all digital streaming platforms worldwide.
Her guitar opens the song with quiet grace before giving way to textured instrumentals from Jordan Ezquerro (piano, organ) and Amelia Eisenhauer (fiddle, banjo), elevating the chorus into a richly layered experience. Additional credits include Tanir Morrison on drums and bass, adding subtle yet enlivened depth to the ballad’s orchestration. “Plans Upon Plans” and the rest of Pastures were recorded in Nashville with the Tennessee-based musical collective Brunjo, grounding the project in the collaborative spirit and acoustic richness of Music City. That setting gave Del Carmen the space to reflect on the weight of her own journey. “The weight of carving your own path is heavy, especially when that path doesn’t always make sense to the people around you,” she shares. “It’s the kind of pressure that’s passed down, the kind you put on yourself, and the kind that makes you want to prove everyone wrong. In all of that, though, it’s also about thanking anyone who’s ever bet on me.” The track wrestles with the idea of “society’s king,” which Del Carmen ties to the agonizing feeling of “a job laid in a hedge maze.” The “plans upon plans” she built for herself unravel in an instant, leaving her adrift and uncertain.”
My review:
“Plans Upon Plans” is a strong folk number (mixed with a bit of country spice)- storytelling and heartfelt narrative with a vocal performance that is emotive and reaches out. The instrumentals are uplifting, the guitars gentle and the fiddle just right and we have some rolling thunder to close. It is a song to listen to and enjoy the narrative.
“El Cortez” came out on September 12, it has a heartbeat that carries it through, and it reminded me a bit of an early Tanita Tikarum. Again, the fiddle adds a lovely upswing to the instruments, the mood here is one of swaying rhythm and a group of friends gathered to celebrate the moment. The track seems to soar over the melody. Nice!
With these two singles, Natalie Del Carmen proves she’s not just following in the Americana footsteps of her influences—she’s dancing across them, barefoot. “Plans Upon Plans” and “El Cortez” both shimmer with sincerity and storytelling craft, the kind of songs that make you want to drive a little slower and listen a little longer. If this is what’s leading us into Pastures, then bring on January.
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You can stream music by Natalie Del Carmen here
Photo Credit: Sam Wiseman
By Mark C. Chambers