Last of the Lonely Gods sees Jon Toogood flip the script in the best way possible, diving headfirst into alternative country like a punk rocker tearing through a honky-tonk. The opener, “Lost In My Hometown,” hits with a cinematic vibe—lush strings, slow-burning waltzes—it’s a far cry from the crushing guitars fans might expect, but damn, it works. Toogood doesn’t hold back, fully embracing this new sound with a swagger that proves he’s still got plenty of fire left in him.

And for the die-hards clutching their old The General Electric vinyls, rest easy. Toogood hasn’t gone soft. Tracks like “Us Against The World” and “Gravity” sneak in just enough of that raw, gritty edge with his unmistakable vocal delivery—nasally sneers, elongated notes, a bit of that old-school punk bite that made Shihad unforgettable. It’s country, but with a rebellious streak.

Sure, the stripped-back production puts focus on the lyrics, which at times can feel a bit too familiar. But honestly, the directness adds a certain charm—it’s raw and unpolished, and that’s what makes it stick. Toogood’s not trying to reinvent the wheel lyrically, but he’s delivering it with heart and a whole lot of attitude.

Last of the Lonely Gods feels like a reinvention, but without ditching the core of what makes Toogood who he is. It’s gritty, honest, and at times surprising—proof that after 35 years in the game, he’s still pushing boundaries and not afraid to shake things up. And isn’t that exactly what you want from a legend?