With his ambitious new 27-track album Country Love Song, Kevin Farge invites listeners into a world shaped by ocean air, jungle humidity, and a lifetime spent between cultures. Recorded in a cabin overlooking a Costa Rican surf break, the album weaves together folk, alt-country, Brazilian jazz, slowcore, orchestral pop, and Latin rhythms into a deeply personal body of work that feels both intimate and expansive.
Raised by an American father and Costa Rican mother, Farge has spent the past six years living in his mother’s village, where surfing, cycling, and a close connection to the natural world have become inseparable from his creative process. The result is Country Love Song — a record that explores belonging, movement, memory, and contentment through warm storytelling, rich instrumentation, and a remarkable cast of collaborators including Little Wings and Gregory Rogove.
Across 27 tracks, Farge balances moments of playful experimentation with quiet reflection, creating music that resists easy categorisation while remaining emotionally direct. As he puts it, “I grew up between worlds. This album is what it sounds like when those worlds stop arguing and start singing together.”
We caught up with Kevin Farge to discuss the making of Country Love Song, recording in Costa Rica, his genre-defying approach to songwriting, and the experiences that shaped one of his most expansive and immersive releases to date.
You’ve described growing up between cultures—how does that duality show up in your music, consciously or unconsciously?
I think there’s just one human culture. Human society is one and indivisible.
Do you feel more like a storyteller, a documentarian, or something else entirely when writing songs?
A biologist in the forest, collecting the diameter of all the trees.
There’s a strong sense of movement and travel in this record—what does “home” mean to you right now?
Home is inside of me. I take it with me wherever I go.
How do you know when a song is finished, especially in a project as expansive as this one?
When it sounds good.
What role does silence or negative space play in your compositions?
What you don’t say is as important as what you say in making a memorable impression.
Do you see Country Love Song as a unified album or more like a collection of connected fragments?
The songs are interconnected and they tell a larger narrative. Jackie and Jessie in “On Down the Line” are two of the “Good Girls” mentioned in “Good Girls.” “Never Gonna Back Down” continues the throughline of “On Down the Line.” You have songs about the American landscape in “Memphis,” “California,” and Austin (“Pretty Kids in the City”). “Memories of the Ganges” is an expansion of a musical idea from “Pretty Kids in the City.” “Lights on the Bridge” is an expansion of a musical idea from “Sing for Me, Darling.” “The Wind’s Dance Across the Island” is an expansion of a musical idea from “End of the Season Pt. 2,” and they form an End of the Season Suite. “Quiénes Somos,” “Mariel Pt. 1,” and “Mariel Pt. 2” are a suite of songs.
How do you maintain emotional honesty when working across such a wide sonic palette?
I think emotional honesty comes from other parts of life and just bleeds over into art. I think meditation helps me with emotional honesty.
Were there any personal memories or experiences that repeatedly surfaced while making this record?
While I was working on this album, I discovered that my dad was not my biological father. That experience gave me some confidence in making this record.
How do you balance spontaneity with structure when you’re recording in an environment as open as a cabin in nature?
Focus on the platonic ideal of the song.
If someone only heard one track to understand your artistic identity, which would you choose—and why?
“Coastal Fog.” A love song about moving forward together.
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