"The most powerful political songs transcend didacticism, channeling poetry into righteousness. Ali McGuirk, a powerhouse vocalist based in Vermont, understands this instinctively...there’s a moral clarity to McGuirk’s conviction." - WBUR

"filtering both vintage 60's soul and 90's R&B into a sound that's fully 2025... McGuirk has written a great song that should inspire you to think." - If It’s Too Loud

“Think Nina Simone meets Lucinda Williams - wry, biting, and unapologetic… Watertop isn’t just soul music, it’s soul work. McGuirk drags truth from the depths and holds it to the light, daring you to look away…this album cuts through with lucidity, power, and rock-and-roll divinity.” - Soundwaves Magazine

“A spellbinding work of timeless soul beauty.” -Under the Radar Magazine

"In just a few deft strokes, McGuirk paints a devastating and deeply human picture.. voice resonating with all that can't be expressed in words alone." -WGBH

“A wealth of sonic enjoyment.” -PopMatters
Ali McGuirk has never been a church mouse. In fact, these days, she’s standing at the pulpit. “I feel like I'm writing lyrics that are preaching,” McGuirk said with a laugh, realizing in real time how much her voice as an artist has evolved while writing and arranging her latest album, Watertop. “I’m actually delivering a message, not necessarily processing my feelings, but delivering my thoughts on the matter. That felt like a different role to embody as a songwriter.”

Par for the course, McGuirk has made an exceptional album. Her 2022 release, Til It’s Gone, was widely acclaimed and praised as earthy, tender, and introspective. The atmospheric songs earned her adoration and accolades, including being selected as one of The Boston Globe’s Top 50 Albums of the Year.

This time around, she leans into creating experimental soundscapes filled with her soulful, smoldering sound and aims right for the heart with her songwriting. Altogether, the songs are a microscopic look at our societal values. McGuirk shies away from nothing, exploring the meaning of things like God, empathy, love, and greed.

It’s hard to pinpoint one exact moment that led to the freedom you hear in McGuirk’s songwriting on Watertop. Perhaps the most important of them all, though, was treating social activism—and her care for others—as a spiritual practice. This transformation gave Watertop its raison d’etre, which comes at you quickly with the opening song: a shimmering, soul-forward track called Love Goes First. In it, McGuirk sings, “We’re trying to hold on to what we cannot hold on to / But it’s love / Love is what we need,” over a drum machine and a synth-infused groove. McGuirk’s harmonies were sung by Cilla Bonnie, whose buttery vocals set the stage for the spirit of this opening track.

“Thematically and conceptually, it's definitely a thesis to the record,” McGuirk said of “Love Goes First.” Lyrically, it sets the stage for the album. Although Watertop dances through a range of emotions, McGuirk asserts that there’s nothing more essential than love.

The supporting band across Watertop is one McGuirk is deeply bonded with. They began playing together in 2017 when McGuirk released her first record, Slow Burn. Since then, the band, which McGuirk lovingly calls her polyamorous musical life partners, has only expanded, now including guitarist Sebastian Falvo. On Watertop, the band is tight and cohesive—despite experimentations with genres and tones—in the way only long-time collaborators can be. D’Vibes, (King Fish, Marcus King) an accomplished multi-genre musician in his own right, plays keys throughout the record. His thoughtfully chosen tones marry classic funk to McGuirk's rootsy sound. Watertop, grounded in the R&B tradition, pushes McGuirk’s sound forward without fully walking away from the essence of her voice.

Across the album's eight songs, most of which were recorded at VT Music Lab and all of which were produced by McGuirk and Ezra Oklan, McGuirk’s jazz background readily emerges through her delightfully surprising vocals. However, in crafting Watertop, McGuirk expanded on her traditional songwriting method, making the album her most technically complex release to date. Fueled by the playful and experimental nature of sound engineer Jeremy Mendicino and co-producer Oklan, McGuirk pushes her songs into full-blown soundscapes through ambitiously crafted arrangements.

“A lesson I learned from this one is to trust myself, my ears, and my opinions. I want to keep going in this direction for at least another record—learning more about sound engineering and learning that language,” McGuirk said, describing the power she felt in playing such a technical role in the production of the album.