{"id":4105,"date":"2026-07-13T16:38:16","date_gmt":"2026-07-13T16:38:16","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4105"},"modified":"2026-07-13T16:38:16","modified_gmt":"2026-07-13T16:38:16","slug":"allison-russell-on-finding-joy-in-the-hour-of-chaos-a-duets-filled-third-album-thats-a-jubilee-unto-itself","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4105","title":{"rendered":"Allison Russell on Finding Joy \u2018In the Hour of Chaos,\u2019 a Duets-Filled Third Album That\u2019s a Jubilee Unto Itself"},"content":{"rendered":"
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\n\tShe\u2019s a rainbow\u2026 and with a slew of carefully chosen guest artists on her new album, she might also count as a rainbow farmer.<\/em> The acclaimed singer-songwriter Allison Russell is back with her third solo album, \u201cIn the Hour of Chaos,\u201d featuring her Rainbow Coalition band and leading off with a song titled \u201cRainbows,\u201d reflecting her light-at-the-end-of-the-tunnel-and-storms worldview. She\u2019s far from the sole source of multiple colors on the new record, though. Russell had never had a featured guest star on one of her efforts until she did a duet with friend Annie Lennox as a one-off. For the new album, she is offsetting the chaos of the world by reinforcing her belief in community, to the extent that there is a featured artist on all but one of the 11 tracks, with guests ranging from Norah Jones to Brittney Spencer to Kashus Culpepper.<\/p>\n

Read more Puerto Rico Film Festival Welcomes Costa Rica as Official Country in Focus (EXCLUSIVE)<\/a><\/p>\n

\n\tIt\u2019s difficult to imagine a more outrightly joyful collection than \u201cIn the Hour of Chaos,\u201d which nearly counts as a party record, until you scratch past the surface and explore the tensions that are making her do the work to arrive at such a celebratory set. It lives up to its predecessors, \u201cOutside Child\u201d and \u201cThe Returner,\u201d which is saying a lot, given how many top 10 lists both of those albums wound up on. Russell spoke with Variety about the new record on the eve of taking off for a tour supporting Sarah McLachlan.<\/p>\n

\nYou had planned to follow up your first two solo albums, \u201cOutside Child\u201d and \u201cThe Returner,\u201d with a third album, \u201cMotherland,\u201d that would complete a conceptual trilogy. But this new album, \u201cIn the Hour of Chaos,\u201d is not that trilogy-closer \u2014 it\u2019s something different altogether. Anyone hearing it will undoubtedly be pleased that this is the path you pursued, whatever else could have been planned. Can you talk about how you changed plans in order to make this your next album?<\/strong>\n<\/p>\n

\n\tAbsolutely. It just happened organically and naturally. Over the the last five years since \u201cOutside Child\u201d came out, I\u2019ve been on the road almost constantly, and then of course doing two stints on Broadway in \u201cHadestown\u201d as well. So there was the most isolation I\u2019ve ever had from my child and my partner, the most separation we\u2019ve ever experienced. I was having so many wonderful opportunities, but at the same time also feeling like a little bit of like a revenant or a ghost in my own home and community.<\/p>\n

\n\tI was feeling the need to be in community for lots of reasons \u2014 on a personal level of feeling disconnected and isolated from my people a lot of the time, and on the macro level of just what we are seeing with the current rise in far-right authoritarianism and fascism that\u2019s happening, obviously, in this country, and globally, really. I was feeling the need to dig in on creative communion with people that inspire me, and to have this person-to-person music as the mycelial network of our human family. It\u2019s healing to me to get to be in community and sing and play with people that I love and admire.<\/p>\n

\n\tThis was the first time we\u2019ve written something over such long distances and spans of time. We started writing for \u201cIn the Hour of Chaos\u201d really, gosh, three years ago. Even during the \u201cReturner\u201d sessions, we already had some of these songs as little babies kind of starting to germinate. It\u2019s also the most in-depth that Dim Star and I have really dug into co-writing, but over distances. There were sessions where I wasn\u2019t even there, when they were creating these extraordinary beds for us to later come in and sing over \u2014 Meg McCormick, Wendy Melvoin, Lisa Coleman, and JT and Drew, of course. It was a much more slow-moving and collaborative-over-distances-and-time process than anything we\u2019ve done before. I mean, we did \u201cOutside Child\u201d in four days; we did \u201cThe Returner\u201d in six days; and we recorded \u201cIn the Hour of Chaos\u201d slowly, bit by bit, over two years.<\/p>\n

\n\tSo, yeah, it\u2019s not the \u201cMotherland\u201d completion of the \u201cOutside Child\u201d\/\u201dReturner\u201d trilogy that I think will one day still happen. But that requires me to go to Africa and spend time there with my family and delve in. That\u2019s a whole other thing that I have not been able to do yet because my career has not allowed for that. There\u2019s been literally no time free. I\u2019ve been very much flat-out working for the last five years.<\/p>\n

\n\tAnd I said this in the liner notes, but this is almost like the mixtape to a musical that\u2019s yet to be written.<\/p>\n

\nAnd by referring to it as a musical unto itself, you\u2019re referencing how many voices are on it, literally. Anyone who\u2019s looking at the track list will immediately notice there\u2019s at least one feature on every song on the album but one. That\u2019s so different from your previous two albums, where there were no features at all. Did the idea of doing a lot of trading vocals happen gradually \u2014 like, you did a couple of them and thought, \u201cHey, this is creating a vibe, let\u2019s keep going\u201d? Or was it foundational from the start?<\/strong><\/p>\n

\n\tIt was more intentional. I was feeling that there is such an intense divide-and-conquer happening, across the board. We see it online; we see it in real life. There\u2019s this negativity bias on steroids that happens with the algorithms online, which has real-life terrible outcomes and effect. And I just was wanting to really deeply be in conversation. I mean, music is always collaborative \u2014 we know this, it always is. But I wanted people to hear<\/em> that, to hear the conversations, in a sense. And that\u2019s what duets can do for us.<\/p>\n

\nThis album will be a great launching point for people to discover some other artists, if they love what they\u2019re hearing. When it comes to the guest artists on the album, I\u2019m intimately familiar with probably about half of them, and the others I\u2019ve just barely heard of\u2026<\/strong><\/p>\n

\n\tOh, I love that. I love that.<\/p>\n

\nAnd then some people who listen will know practically everybody. Or there could be a few people who come in not knowing any of these outside voices. Except Norah Jones \u2014 everyone knows Norah Jones.<\/strong><\/p>\n

\n\tYes, of course, our queen, our beautiful Norah. I love her so much. I don\u2019t know if you\u2019ve checked out her wonderful Playing Together podcast; I went down such a rabbit hole with that. I met Norah at Willie\u2019s 90th birthday (in concert at the Hollywood Bowl), and that\u2019s when we first collaborated, when Willie asked us to cover \u201cSeven Spanish Angels\u201d kind of at the last minute. Baby Allison who was driving around with Po\u2019 Girl (Russell\u2019s former group) in 2003 obsessively listening to Norah was doing back flips, like, \u201cTry to be cool.\u201d. But I\u2019ve been so lucky to meet musical icons and people I\u2019ve looked up to and listened to for most of my life \u2014 like Norah, like Brandi (Carlile) of course, and Joni (Mitchell), and Mavis (Staples), and Joan Baez, and Annie (Lennox) \u2014 people that you meet and you feel kinda over-awed at first, and then you realize, well, we\u2019re just kindred spirits, you know?<\/p>\n

\nIs there anybody who isn\u2019t nearly as exposed that you hope people might check out after hearing this album?<\/strong><\/p>\n

\n\tI feel like more people need to know Denitia. More people need to know Julie Williams. More people need to know\u2026 well, I mean, people are really getting to know Joy Oladokun now, which is wonderful.<\/p>\n

\n\tEverybody needs to know Ahya Simone. She\u2019s like the Gen Z Alice Coltrane. I first got to work with her on the \u201cTransa\u201d album that Red Hot put out a year or two ago that Sade spearheaded, and it was just such a joy to work with her. We did a cover of Jackie Shane\u2019s \u201cAny Other Way,\u201d penned by William Bell. That project, the whole kind of premise of it was pairing cisgender artists with trans artists to amplify the beauty and the expansive transcendence of that artistic community, and so I got so lucky to get paired with Aya Simone. The co-producer of the track, Terrence Thomas, had thought to bring us together, and I\u2019m so grateful to him for doing that because she\u2019s one of my favorite artists and people on the planet. I want everyone to know Ahya.<\/p>\n

\n\tOh, Chibueze Ihuoma. I want everybody to know Chibueze, who sings with me on \u201cTwo Stars.\u201d I met him on stage (doing \u201cHadestown\u201d on Broadway), as Orpheus. He was a swing and came in to sub for Jordan Fisher, and he took my breath away. He\u2019s currently on tour with the touring show of \u201cHamilton.\u201d And he\u2019s a brilliant, brilliant young songwriter as well, so people are gonna know his name one day soon. Real Broadway buffs kind of already know about him, because he\u2019s so magnificent in every role he takes on, and he\u2019s one of those cases where it\u2019s a \u201cthe understudy often outshines the star\u201d kind of thing. I\u2019ve been hearing about how incredible his Hamilton is, when he\u2019s subbed in for whomever has the lead.<\/p>\n

\nI noticed in the song sequencing for the album that initially it\u2019s all female voices, and then as the album progresses, you kind of have a few guys popping up toward the end. I wondered if that was intentional, to sort of have the male voices more in a little grouping of their own rather than sprinkling them throughout.<\/strong><\/p>\n

\n\tNo, it was more the song journeys and the arc of it. I didn\u2019t even really catch that till later. I don\u2019t know \u2014 ladies first, I guess. But it was not intentionally done that way by gender by any means. And actually, you know, Ahya\u2019s at the end there, and she\u2019s very much a woman, a beautiful trans woman. But yeah, that was sort of totally accidental.<\/p>\n

\n\tAnd actually, there\u2019s two different orders. There\u2019s the streaming version, and then there\u2019s the vinyl version. And on the vinyl version, the opening track is \u201cTwo Stars\u201d with Chigweze, right at the start instead of later in the album. Basically, the director\u2019s cut is the vinyl version. That\u2019s is my favorite order. I\u2019m down with the digital order, too [which is on the CD as well as streaming]. Between the label and Dim Star and I, we kind of came to a good compromise with that. But my true artist\u2019s album order is the vinyl order.<\/p>\n

\nKnowing there is a different sequence for the vinyl changes everything. But in listening to the streaming\/CD version, I wondered if the songs with male\/female duets coming toward the end had a reason for being grouped together. All these songs are about connection in some way. But early on, the sequence seems to focus on songs that are about being part of a community or sisterhood, and then it seems like some of the more personal, love-relationship-type songs are toward the end. So it seemed like maybe that could be a reason for saving male voices for the latter stretch.<\/strong><\/p>\n

Read more Ana Istar\u00fa to Appear Alongside Director Daughter Ard\u00e9lia Istar\u00fa in \u2018Quemada\u2019 Via Valentina Maurel\u2019s Tres Tigres Label (EXCLUSIVE)<\/a><\/p>\n

\n\tOh, no. I mean, I\u2019ve had more personal relationships with women than with men in my life. So it\u2019s not that. It\u2019s more just the sonic arc as well as the kind of emotional arc of the album, you know?<\/p>\n

\nThe album is similar to \u201cThe Returner\u201d in a few ways, in that there\u2019s such an amazingly joyful spirit to virtually the entire album. But then, almost every song is about struggle at the same time, once you dig down beneath the celebration.<\/strong><\/p>\n

\n\tYou have to enjoy the struggle, because Lord knows we\u2019re never gonna stop struggling in this world, in this life.<\/p>\n

\nHaving to create this joy for ourselves somehow by connecting with people is a recurring theme. There is so much attention paid to how we lift each other up, by being complementary and how, when I\u2019m down, you have to be there for me, and vice versa.<\/strong><\/p>\n

\n\tYes, because that\u2019s what we do for each other, right? It really is. I think sometimes people feel like they\u2019re carrying everything alone, or they can\u2019t ever take a break, or they can\u2019t give themselves grace to just be in deep grief or deep depression or deep exhaustion. I think we\u2019re so hard on ourselves for those things, and we forget that that is the grace of humanity. The reason why we\u2019ve survived as a species is because we are not on our own. We would not have ever survived if we were not able to thrive in community and to carry each other. When one is tired, the other can be strong, you know?<\/p>\n

\nThe lyrics are very down to earth at times. I mean, at all times with your music, \u201cearthy\u201d probably applies. But sometimes there\u2019s a real sort of high-mindedness to your music, where you elevate the lofty goals of what we need to do together as individuals or a society. But then you also have a song on this album that expresses the simple desire to just watch TV together. I love that you have the whole sort of spectrum in there of what we need to be doing to lift each other up, but then, it\u2019s OK to relax together, too.<\/strong><\/p>\n

\n\tYeah, exactly. It\u2019s so important, those things we do that, like watching something stupid together and laughing about it, and cuddling in the darkness. And that doesn\u2019t have to be withg a romantic partner. That can just be your best friend. I think we devalue platonic love in our culture, you know? There\u2019s so much deep, deep, deep, deep connection and intimacy that we have with people who are not our lovers. That\u2019s so important, and when we don\u2019t have it, we feel the lack of it. And so there\u2019s lots of different interpretations to any lyric within the record.<\/p>\n

\nOK, so spooning is good when done platonically, too.<\/strong><\/p>\n

\n\tYou can spoon with your bestie.<\/p>\n

\nLet\u2019s talk about the track \u201cBlack Lavender.\u201d You released that just prior to the full album, for Juneteenth.<\/strong><\/p>\n

\n\tOh, Brittney Spencer\u2019s voice is like an instrument of divine sonic healing. I find her breathtaking. I still remember the first time I met Brittney. We were just coming out of lockdown, and \u201cOutside Child\u201d wasn\u2019t out yet. Brandi Carlile came to town and did a show at the Ryman as a thank you to all of the first responders and the nurses and the doctors. I remember sitting next to Brittney Spencer and Tracy Gershon and Ali Harnell, with all of us in little masks. And when \u201cOutside Child\u201d came out, it was that hybrid time when you were still doing your kind of shitty home videos and sending them in to Colbert and Kimmel, because we weren\u2019t allowed to go to their studio yet. So I remember doing a video at at Jordan Hamlin\u2019s amazing studio here in Nashville, singing \u201cNightflyer,\u201d and then Brandi recorded her part separately at their little compound outside of Seattle. That was my first late-night TV, a spliced-together video on Kimmel with Brittney, Brandi and me. It was this auspicious blessing for that whole record and the whole start of my solo-in-name-only career. So this feels very full circle. And Brittney, of course, has done Tennessee Rise with us [the 2023 benefit supporting LGBTQ+ rights in the face of legislative crackdowns], and been such an integral part of our community here in Nashville. So it was joyful that she graced that song with her extraordinary voice.<\/p>\n

\nI was looking up \u201cblack lavender,\u201d because I didn\u2019t really know all of the possible associations, and I saw that it\u2019s a tea. I saw that it\u2019s also a weed brand.<\/strong><\/p>\n

\n\tI did not even know that it was a weed brand. Is that real? That\u2019s hilarious. Maybe they\u2019ll sponsor us. My bandmates would be thrilled. I can\u2019t do THC. It makes me paranoid, but it works well for others.<\/p>\n

\nYou released \u201cBlack Lavender\u201d on Juneteenth, so we know the black is not in there just because you\u2019re a big tea drinker. Is it a celebration of Black sisterhood in particular, is it fair to say?<\/strong><\/p>\n

\n\tAbsolutely. In the same way that the absurdity of misogyny runs rampant through every facet of our culture and industries, the misogynoir is even more intense. And there\u2019s that notion of the false scarcity model, like, there\u2019s only so much interest for women, and there\u2019s really only so much interest for Black women. There\u2019s this notion that there\u2019s only room for one, you know? And I find that to be so completely dishonest and absurd. Anything good that has ever happened to me in my career, almost all of it has come through the auspices and graces of other women in this industry, including other Black women, like Brittney, like Rhiannon Giddens, like Amythyst Kiah, like Leyla McCalla, like Ruby Amanfu, Brittany Howard, on and on and on, all these amazing women lifting each other up. The more of us, the better. I definitely wanted to amplify the voices of artists like Brittney that I adore. There\u2019s room for all of us, and we\u2019re incomparable.<\/p>\n

\nAnything to say about the production style of this? Especially with \u201cThe Returner\u201d and now this, it feels like you and your production partners have come into your own with a sound that is just very sort of ear-tickling a lot of the time, with some really pleasingly eccentric sounds, where it\u2019s rarely a fully straightforward R&B or folk song or anything else genre-specific.<\/strong><\/p>\n

\n\tVery genre-fluid, for sure. We\u2019ve been growing together as a musical extended family. We\u2019ve got the deepening relationship between Wendy, Lisa, Meg McCormack, Drew\u2026 Dim Star is JT Nero and his brother Drew Lindsay, who also goes by Drew Marble, who\u2019s my brother \u2014 chosen brother, and brother through marriage as well. The two of them, JT and Drew, as a co-production unit, have been deepening their relationship since the lockdown. They\u2019ve worked on the new record of JT\u2019s [a forthcoming JT Nero solo album], which is extraordinary. They worked on a record for an amazing J-pop artist, Angela. And the three of us have been co-creating for 20 years now. There\u2019s a telepathy and a playfulness, and there\u2019s deep trust with who we choose to cast the room with. Elizabeth Pupo-Walker on percussion, who found an old ancient rusted paper cutter at Concord and loved the sound of it, so that\u2019s on there at the beginning off . Meg McCormick, we acknowledge her on several songs and in liner notes as really having had a producer\u2019s ear herself coming in on this. And Wendy and Lisa, of course, who just elevate everything they come near.<\/p>\n

\n\tAnd my Rainbow Coalition, who\u2019ve we\u2019ve been on the road together now for two years straight with this lineup of Ganessa James, Caoi de Barra, Caoimhe Hopkinson, we\u2019ve become sort of a telepathic unit as well. Kyshona and Sara Watkins, who are two of our favorite humans and singers on the planet, had never sung together until they did the sessions for this record, and they fell in love with each other. They\u2019ve named their duo, unofficially; it is called Lush, and it was so joyful. So many people hadn\u2019t been in the studio together before, but we have such deep relationship with each of them, we knew it would work.<\/p>\n

\nAllison Russell is currently out on tour as the opening act for Sarah McLachlan. Read Variety\u2019s joint interview with McLachlan and Russell here.<\/em><\/strong><\/p>\n

\n\u201cIn the Hour of Chaos\u201d album track list<\/strong> (streaming\/CD version):<\/p>\n

\n
    \n
  1. Rainbows<\/li>\n
  2. No Springtime ft Joy Oladokun & Julie Williams<\/li>\n
  3. Cold April ft Kara Jackson, Denitia & Explore! Pop Choir<\/li>\n
  4. Black Lavender ft Brittney Spencer<\/li>\n
  5. Really Real ft Norah Jones<\/li>\n
  6. Just Like Saturday ft Ruby Amanfu<\/li>\n
  7. Chaos Theory ft Kyshona & Sara Watkins<\/li>\n
  8. Love is a Golden Lion ft Devon Gilfillian<\/li>\n
  9. Searchlight ft Kashus Culpepper<\/li>\n
  10. Two Stars ft Chibueze Ihuoma<\/li>\n
  11. Good Omens ft Ahya Simone<\/li>\n<\/ol>\n<\/div>\n

    \nVinyl track list:<\/strong><\/p>\n

    \n\tSide A<\/p>\n

    \n
      \n
    1. Two Stars ft Chibueze Ihuoma<\/li>\n
    2. Cold April ft Kara Jackson, Denitia & Explore! Pop Choir<\/li>\n
    3. Black Lavender ft Brittney Spencer<\/li>\n
    4. Love is a Golden Lion ft Devon Gilfillian<\/li>\n
    5. Just Like Saturday ft Ruby Amanfu<\/li>\n
    6. Searchlight ft Kashus Culpepper<\/li>\n<\/ol>\n<\/div>\n

      \n\tSide B<\/p>\n

      \n
        \n
      1. Chaos Theory ft Kyshona & Sara Watkins<\/li>\n
      2. Rainbows<\/li>\n
      3. No Springtime ft Joy Oladokun & Julie Williams<\/li>\n
      4. Really Real ft Norah Jones<\/li>\n
      5. Good Omens ft Ahya Simone<\/li>\n<\/ol>\n<\/div>\n

        \nAllison Russell tour dates with Sarah McLachlan:<\/strong>
        Jul 1 \u2013 FirstBank Amphitheater \u2013 Franklin, TN*
        Jul 3 \u2013 Synovus Bank Amphitheater at Chastain Park \u2013 Atlanta, GA*
        Jul 7 \u2013 TD Pavilion at The Mann \u2013 Philadelphia, PA*
        Jul 8 \u2013 Hartford HealthCare Amphitheater \u2013 Bridgeport, CT*
        Jul 10 \u2013 Leader Bank Pavilion \u2013 Boston, MA*
        Jul 11 \u2013 Forest Hills Stadium \u2013 Forest Hills, NY*
        Jul 12 \u2013 BankNH Pavilion \u2013 Gilford, NH*
        Jul 14 \u2013 Artpark Mainstage Theater \u2013 Lewiston, NY*
        Jul 15 \u2013 Michigan Lottery Amphitheatre at Freedom Hill \u2013 Sterling Heights, MI*
        Jul 17 \u2013 Acrisure Amphitheater \u2013 Grand Rapids, MI*
        Jul 18 \u2013 Huntington Bank Pavilion at Northerly Island \u2013 Chicago, IL*
        Jul 19 \u2013 Everwise Amphitheater at White River State Park \u2013 Indianapolis, IN*
        Jul 21 \u2013 PNC Pavilion \u2013 Cincinnati, OH*
        Jul 23 \u2013 Saint Louis Music Park \u2013 Maryland Heights, MO*
        Jul 24 \u2013 Starlight Theatre \u2013 Kansas City, MO*
        Jul 26 \u2013 The Pavilion at Toyota Music Factory \u2013 Irving, TX*
        Jul 30 \u2013 Utah First Credit Union Amphitheatre \u2013 West Valley City, UT*
        Aug 1 \u2013 Toyota Pavilion at Concord \u2013 Concord, CA*
        Aug 2 \u2013 The Rady Shell at Jacobs Park \u2013 San Diego, CA*
        Aug 4 \u2013 Greek Theatre \u2013 Los Angeles, CA*
        Aug 7 \u2013 Hayden Homes Amphitheater \u2013 Bend, OR*
        Aug 8 \u2013 Chateau Ste Michelle Winery \u2013 Woodinville, WA*
        Aug 9 \u2013 Chateau Ste Michelle Winery \u2013 Woodinville, WA*<\/p>\n

        \nAllison Russell headlining tour dates:<\/strong>
        Oct 15 \u2013 The Orange Peel \u2013 Asheville, NC
        Oct 22 \u2013 Massey Hall \u2013 Toronto, ON
        Oct 23 \u2013 Theatre Beanfield \u2013 Montreal, QC
        Oct 24 \u2013 Imperial Bell \u2013 Quebec City, QC
        Oct 25 \u2013 National Arts Centre \u2013 Southam Hall \u2013 Ottawa, ON
        Oct 27 \u2013 Higher Ground The Ballroom \u2013 South Burlington, VT
        Nov 1 \u2013 First Avenue \u2013 Minneapolis, MN
        Nov 3 \u2013 Burton Cummings Theatre \u2013 Winnipeg, MB
        Nov 5 \u2013 Winspear Centre \u2013 Edmonton, AB
        Nov 6 \u2013 Grey Eagle Resort & Event Centre \u2013 Calgary, AB
        Nov 9 \u2013 Chan Centre for the Performing Arts \u2013 Vancouver, BC<\/p>\n

        Read more New York Comedy Festival Sets 2026 Lineup: Marc Maron, Ilana Glazer and More<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

        Allison Russell discusses making her third solo album, ‘In the Hour of Chaos,’ with guest vocalists including Norah Jones, Brittney Spencer and others.<\/p>\n","protected":false},"author":1,"featured_media":4104,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[1830,3334,3335],"class_list":["post-4105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-allison-russell","tag-brittney-spencer","tag-norah-jones"],"yoast_head":"\nAllison Russell on Finding Joy \u2018In the Hour of Chaos,\u2019 a Duets-Filled Third Album That\u2019s a Jubilee Unto Itself - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4105\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Allison Russell on Finding Joy \u2018In the Hour of Chaos,\u2019 a Duets-Filled Third Album That\u2019s a Jubilee Unto Itself - 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