A few weeks ago, I was part of the vibrant crowd packed into El Taco Guapo—shoulder to elbow, beer to brow—glued to the local cowboy rockers shaking the concrete of Broad Street.
Bucko came together out of necessity. Through the natural progression of friendship, word of mouth, and the need to add a band to the bill, singer Ava Coles joined bassist Jacob Karona, original guitarist David Lefkowitz, and a handful of other friends to perform at the always-exciting Lurchfest, a house show showcasing young Richmond talent. Bucko was born, and “from there, it completely snowballed… musically, we just got along,” Ava tells me about the early days as they pulled together the current lineup.
Ezra Lapidus and Ben Heath joined the party on guitar and drums, respectively, and lastly, Ben Slone was “buck-ified” from engineer to guitarist. The lineup clicked, and the band started pumping out songs, quickly realizing they had an impressive tool: the home studio of the two Bens. Armed with an impressive list of songs, they took to the studio.
The self-proclaimed “honky-tonk-goof-rock” group finds themselves in the rushing stream of country and country-adjacent young bands. “I really dig it,” Ava says, before listing off artists like “Dougie Poole, MJ Lenderman, Karly Hartzman of the band Wednesday, Attaboy, Ratboys… there is so much going on with references to older country.”
“We’ve finally gotten past that post-9/11 country disaster,” Jacob adds, “back to that high lonesome sound” that cruised the streets when country still had danger. All of this is evident in their new self-titled debut.
I went up and down the new album a number of times. It’s refreshing and alive, reminiscent of the Marty Robbins I was raised with, and the likes of Amyl and the Sniffers, which accompanied me into adulthood. On one of my many listens, I wrote out some questions and thoughts. Sitting down with the band, we talked them over.
‘MANHOLE‘
The premier track details a distracted individual wandering the streets on their phone, “falling into a manhole and lamenting their situation.” As the character wails, “Help me, please, someone on the street,” they try to make the depths into a home, befriending the bugs and reminiscing about the Ninja Turtles, but still, nothing compares to the sunlight.
The song originated from a short-lived side project but was “buck-ified” when Ava dedicated herself to this group. It’s a telling story of the helplessness young people feel right now. Without a doubt, we often find ourselves calling out to the anonymous collective that exists in the world apart from us—a youthful cry for assistance when everything is dark and cold. “They have made the best of their situation, but in a sense, they are still hopeless.”
‘First HoRSE in the Camel‘
The next song was birthed out of a “round robin-style writing process” over a jammed progression, creating the story as the song was delivered. It loosely follows the journey of a cryptic lone wanderer, starting at our beloved local club, The Camel, and ending on the moon. “It only gets more absurd, coming from a place of already absurdity,” Ava explains, having penned the almost gibberish lyrics. Wading through the lyrics with the focused chords, the song paints a picture of breaking through struggle, trudging on despite resistance. The song ends with the character buckling up a jet pack and setting off, trailed by a bouncy honky-tonk bop.
Ava’s voice and Jacob’s walking bass waltz through a crowded bar, while the co-lyrics of Ava, Ezra, and original guitarist David Lefkowitz paint something abstract and absurd. Ezra’s guitar eventually sails away, adding to the surreal journey.
As abstract as it is, this level of storytelling is by no means common. It feels like an unintentional continuation of ideas from legends like Townes Van Zandt and Willie Nelson. The ability to connect physical locations to songs is the mark of a well-read writer—giving the mystical a bit of realism. “Any legacy comes from one Ava started,” Jacob reflects, noting that their influences are so expansive and fluid, resulting in something uniquely Bucko. “We combine all these influences; we Buck-ify them,” Ava adds.
‘Wayne’s Lanes‘
Here, one of the major themes of the record is solidified through the tale and lament of the old, collapsed bowling alley—a reflection on what brought you here. In your mid-twenties, you encounter a wide variety of feelings about your place in life. The group reflects on the ping-pong effect of feeling comfortable, like you’re right on time, only to swing back to uncertainty.
Around the time of recording, bassist Jacob visited a house built the same year he was born. It was a beautiful but rundown home. “Cracks in the walls, clutter built up, but there’s a drive to fix it up… there’s always work to be done,” he says. “Nothing is static, but I’m confident in one thing, and that’s Bucko,” Ava adds, to widespread agreement from the rest of the group.
“Did you find yourselves reflecting on certain periods of life as you wrote this album?” I ask. After some thought, Ava explains the true story behind the song—a bowling alley from her youth collapsed during a snowstorm in her early high school days. “I wrote it in a Covid-induced haze… I don’t know why I was thinking about it, but it’s all based on real events.” There was nostalgia in allowing herself to reflect on the “sad and bizarre” destruction of a childhood icon.
The band brands themselves as sentimentalists, acknowledging that the present is only possible because of the past. “I’m fully saturated in nostalgia, but with Bucko, we’re always looking forward,” Ezra explains. The band is already sitting on two more singles for release in the coming months. With each new sonic moment, there’s a life experience behind it. As you fly through your twenties, you can’t help but remember the cataclysmic moments of childhood that led you to where you are now.
‘Derby‘
This song is a uniquely universal slice of the somewhat southern life many of us live. The demolition derby was a staple of Ava’s youth, a celebratory circus at the end of summer. These vivid and colorful lyrics resulted from another collaborative writing session. This collective approach to lyric writing gives the album such broad and universal connections—it feels like a documentary of my life and yours as we grew up in Virginia. It tells a tale of the vast disparity and complexity in life.
“As time goes by, it gets more clear what I want, which doesn’t necessarily make life less complex, but it makes decisions easier,” Ezra reflects. Chuckling, drummer Ben adds, “For me, life has definitely gotten more complex. Now I have a whole slew of options in front of me.” Ava jumps in, explaining, “We are all old children.” Jacob enthusiastically chimes in, “I want to play—not just play music—I want to run and splash around in water!” “Derby” serves as a much-needed reminder that, even as the cars are crashing around us, we still need to play.
“Derby” holds some of the best lyrics I’ve seen in quite a while: “This slurpee’s meltin’ fast, and my dad could kick your ass at the derby” and “My funnel cake is cold, and your shit is gettin’ old at the derby” are so simple, honest, and paint such a detailed picture. It’s young and it’s old, immature and grown-up, fun and serious. I can’t think of a better metaphor for growing up in the modern era than sitting on the bleachers, watching cars dance around until they crash into scrap.
‘Ford on Fire‘
“Ford on Fire” was years in the making, starting with the first original chord progression ever assembled by Jacob, finding its genesis over a decade ago. It drifted through the years aimlessly until it was met with another adolescent inspiration. A key member of the Bucko fan club, George Coles (Ava’s father), had introduced the young singer to the likes of Gillian Welch, Lucinda Williams, and the Gourds. Guiding and aiding her development, their influences fused together in Ford on Fire.
Jacob shares that “[Bucko] is the first time [he] hasn’t felt like [he] has to be fancy… [he] would rather be playing something that is cohesive.” It’s a simple song, but it hits every emotional mark you’d want in a tale of closing a chapter in life.
‘Vines Will Thrive‘
Here it is! The heartbreak song every great country album needs. It catches the character right at the turning point—when you let go of the sadness and realize the decisions you made were the right ones. You’re moving forward, and your former partner isn’t.
When asked about their views on the song, the band revealed a divisive split between optimists and pessimists. That split is reflected in the lyrics. On one hand, there’s hope for growth: “one gal’s trash is another one’s treasure,” hinting at the inevitable spin where the bad turns good. On the other hand, there’s a natural negativity in letting go: “That’s why my vines will thrive and yours will wilt and die.”
Sonically, this song is pure beauty, with one early listener even stating, “I want this to play at my wedding!” Personally, I hope they read into the lyrics first, but I understand the sentiment. The layered vocals and slide guitar feel like they’re guiding you into a new future. It’s a mature song, standing out against the more lighthearted, character-driven tracks that had marked the album up to this point.
‘Cilantro‘
This song originated from a friend’s drunken monologue against people who are “too quirky” for cilantro—those trying to “be so cool and so different” from the rest. Amused by the rant, the song was demoed, and over a year later, it stands out as a key track on the album. The lyrics, “You don’t like cilantro ‘cause you’re trying to be different,” are straightforward but resonate with the countless interactions you have while navigating the modern world.
The song has the tension and beat reminiscent of an X album, with a trumpet blaring the charge at its climax. As I witnessed firsthand, this song can get a crowd moving, and when the brass section comes in, the house absolutely comes down. Each instrument is given a moment to shine, turning the track into a cumulative anthem for Bucko—a true summation of the band’s energy. It’s an incredibly alive song, where you can feel the breaths, beats, twitches, and tweaks. I’d give up all my possessions just to see this one live again.
‘Live or Die‘
Just when you think the ante couldn’t be upped, “Live or Die” hits. It sounds like it was ripped straight from the mouth of a biker—dangerous and intense, churning like a shoddy engine. The song began with a classic blues riff, which Ezra played faster and faster until it took on its final form. As the tempo increased, he and Ava began shouting the title back and forth at each other, embodying the fast and loose lifestyle of many young Richmonders.
“Driving with no seatbelt on
Driving with no headlights gone
Every red light is a green
‘Cause I’m a reckless driving dream.”
Seeing this live felt akin to watching bands like Upchuck and Idles. The song erupts and takes over your mind like a parasite. Your leg loses the ability to stay still, and sooner or later, you find yourself swinging your arms and singing right along.
‘Theme Song‘
The album finishes off with a fittingly titled “Theme Song”. While it was played at the early Bucko gigs, the lyrics did not come till later. “Originally it was just gibberish,” syllables and vocalization over a driving guitar. The lyrics that developed and broad expansive, dealing with morality, mortality, literature, and of course tinder. It has a great bounce and the return of that optimistic feel that peaks its head throughout the album.
Bucko is incredibly fun and fresh, a documentary on the lives of young individuals making their way through early adulthood and trying to stay sane all the while. With this strong of a first full length, I am incredibly ready to be swept in the Bucko wave. They are already teasing new releases over the next few months, and if they hold a candle to this record, Richmond is in good shape.
Main photo by Kylie Heald
