SARAH JAROSZ: Albums Ranked

*Updated 12/24 to include Polaroid Lovers

To those who know her work, Sarah Jarosz is a multi-talented singer-songwriter and instrumentalist who has captivated audiences with her unique blend of contemporary folk, Americana, and bluegrass music for the better part of fifteen years (and counting). Born and raised in Texas, Sarah started playing music at an early age and quickly developed a passion for the banjo, mandolin, and guitar. At the age of 18, she released her debut album, “Song Up in Her Head,” which earned her critical acclaim and a Grammy nomination to boot. 

Since then, Jarosz has continued to create music that showcases her impressive instrumental skills and songwriting abilities, earning her a reputation as one of the most innovative and exciting artists in the modern folk scene. Her sound touches upon everything from traditional folk and bluegrass to jazz, rock, and pop, and she has collaborated with some rather heavy hitters, including Chris Thile, Aoife O’Donovan, and Sara Watkins. Jarosz has also toured extensively throughout her career (highlights include Bonnaroo, Newport Folk Festival, and Telluride Bluegrass Festival), and her live performances remain a testament to her talent and passion.

Given the near-instant accolades, it’s tempting to focus on her seemingly overnight success, but it’s the consistently high quality of Jarosz’s recorded output that warrants discussion. Over the course of career, Jarosz has continued to rack up impressive chart debuts and Grammy nominations (now totaling 4 wins). Through it all, Sarah has remained humble and grounded, consistently pushing herself to grow and evolve as an artist. Her catalog is impeccable, something that admittedly made the following ranking a bit of a head-scratcher.

Now, before we dive into my ranking, there are a few caveats I’d like to mention:

*Caveat Number One: I’ve decided to restrict my list to full-length solo studio releases. This means I’m With Her, Sarah’s collaboration with Aoife O’Donovan and Sara Watkins, will not be included.

**Caveat Number Two: It should go without saying, but I’m going to say it regardless: I’m a massive fan of virtually everything Jarosz has released. Any and all criticisms are subjective and should be taken with a grain of salt. 

***Caveat Number Three: I’d like to file anything that I’ve written below in the ever-so-subjective ‘prisoner of the moment’ category. If I were to repeat this process six months from now, my results would probably change.

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7. Song Up In Her Head (2009)

I know what you’re thinking: how did the Grammy-nominated debut wind up at the bottom of this list? Well, for all of the talent Jarosz flashes on 2009’s Song Up In Her Head, the album ultimately pales in comparison to much of her later work. That’s not to say that Song Up In Her Head is an underwhelming release, because it’s not. Jarosz’s debut is, by and large, an impressively cohesive listen–there’s an undeniable charm to the singer’s wide-eyed songwriting and chops-heavy instrumentation. That all said, there’s little here that Jarosz doesn’t refine on later releases. Besides, every list needs a starting point, and the fact that this critically-acclaimed debut winds up at the bottom only speaks to the impeccable quality of what follows.

The Book of Right On (Highlights):

An early standout, “Edge of a Dream” is a hauntingly beautiful ballad that highlights Sarah’s delicate vocals and intricate banjo playing. Featuring one of the album’s best vocals, “Tell Me True” is another highlight that continues to make its way into Jarosz’s live set.

Pay It No Mind (Lowlights):

At five minutes and change, “Long Journey” lives up to its title as the album’s longest track. While the opening line “I have just begun” feels appropriately earnest, the song’s piano-heavy instrumentation and meandering arrangement does this ballad no favors, resulting in one of the few Sarah Jarosz songs that, well, kinda drags.

Gone Too Soon (Favorite Lyric and/or Moment):

Step to the left, step to the right, The middle of the floor, feels safe tonight – “Edge of the Dream”

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6. Follow Me Down (2011)

2011’s Follow Me Down finds Jarosz largely repeating the formula of her debut. The album leans heavily on stripped-down arrangements and features a healthy dose of instrumentals and covers alongside a handful of originals. The disparate mix of rock-tinged singles (“Run Away,” “Come Around”), haunting ballads (“My Muse,” a cover of Radiohead’s “The Tourist”), and good ‘ol fashioned bluegrass workouts (“Annabelle Lee,” “Old Smitty”) results in an album feels a bit all over the place, especially when compared to her debut.

Still, from the song-writing and lyrics to the playing and production, Follow Me Down also features some pretty massive growth on all fronts. The lone criticism to be waged here is the front-loaded track listing, a momentum-killing decision that relegates a pair of instrumentals and ballads to the album’s back half. Good stuff, but the best was still to come.

The Book of Right On (Highlights):

While her playing chops were there from the start, it’s with Jarosz’s voice where one can hear the most pronounced change and growth between Follow Me Down and her debut, and nowhere is that more apparent than on “My Muse.” Showcasing vocal acrobatics that were nowhere to be found on Song Up In Her Head, the pensive ballad features one of Jarosz’s most confident vocals to date.

Pay It No Mind (Lowlights):

First off, major props for tackling a song that features what many Radiohead fans consider to be Thom Yorke’s most impassioned vocal performance. Jarosz swings for the fences, and while I won’t call it a total ‘miss,’ this harmony-drenched cover (of “The Tourist”) leaves me wishing that she’d picked a different song.

Gone Too Soon (Favorite Lyric and/or Moment):

And I don’t want to lose my faith in you, Cause sometimes I don’t have a clue – “Come Around”

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5. World On The Ground (2020)

If there’s a Sarah Jarosz release that can be classified as ‘business as usual,’ it’s 2020’s World On The Ground. The bluegrass-tinged, album-opening “Eve” picks up right where 2016’s Undercurrent left off. From there, Jarosz dutifully offers her now-trademark folksy mix of pop-tinged Americana. 

In fact, much of World On The Ground could easily slide onto prior releases. Songs like “Pay It No Mind” and “Little Satchel” hearken back to Jarosz’s first two albums while songs like “Hometown” and “Orange and Blue” channel the refined intimacy of Build Me Up From Bones.

Despite the overly familiar feeling permeating much of the album, World On The Ground does manage to distinguish itself from the rest of Jarosz’s catalog via a pair of amped-up anthems: “Johnny,” and “Empty Square.” The former is a welcome breath of fresh air and finds Jarosz channeling her inner ‘90s alt-rocker and features one of her most intriguing chord progressions to date.

Still, World On The Ground spends most of its runtime referencing the rest of Jarosz’s work—of course, with a catalog as potent as hers, that’s hardly a bad thing.

The Book of Right On (Highlights):

In addition to the pair of upbeat numbers mentioned above, the pensive ballad “What Do I Do” is a late-album gem that finds Jarosz delivering an incredibly effective road-weary lyric.

Pay It No Mind (Lowlights):

While it’s a fine song, “Maggie” finds Jarosz stumbling a bit lyrically, offering what might be her hokiest line to date: “Drive across the desert in a blue Ford Escape, Hopefully this car will live up to its name”

Gone Too Soon (Favorite Lyric and/or Moment):

And an open heart looks a lot like the wilderness – “Johnny”

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4. Polaroid Lovers (2024)

Looking back at Sarah Jarosz’s catalog, one can’t help but note the effortless consistency. Be it the songwriting, the performances, or even the album artwork, Jarosz has quietly assembled an impressive body of work (and she has the grammys to prove it). In fact, the only thing missing at this point was a stylistic left turn. Which brings us to 2024’s Polaroid Lovers.

Admittedly, I initially didn’t know what to make of the stylistic shift in Jarosz’s sound and visual aesthetic. Frankly, my opinion after several full listens was pretty dismal–to put it as politely as possible, Polaroid Lovers felt a bit canned and woefully overbaked. Rather than simply toss the album aside as a career misstep, I decided to take a little time away and re-engage when I was a bit more open to setting aside my preconceived notions of what a Sarah Jarosz record is supposed to sound like. Given my love of chameleon-esque artists like David Bowie, I figured I owed her that much.

Fortunately, when I checked back in several months later, my initial disappointment gave way to much more positive reappraisal. Sure, Polaroid Lovers might feel a bit over-produced and there are certainly a few paint-by-numbers radio-friendly unit shifters sprinkled throughout, but this is hardly the misguided attempt at mainstream cred that I first judged it to be. In fact, the more I listen, the more I hear the signs of growth—something I can’t help but appreciate. It might not have been ‘love at first spin,’ but Polaroid Lovers is ultimately an album that rewards repeated listens–(though, judging by reviews, I was definitely in the minority as most fans hailed this as an instant classic).

The Book of Right On (Highlights):

While the singles showcase everything from amped-up indie rock (“Jealous Moon”) to R&B-indebted pop (“When the Lights Go Out”), it’s the understated ballads that ultimately win the day. Case in point being “Columbus & 89th,” which not only channels the trademark Jarosz sound of previous albums (would be right at home on Build Me Up From Bones), but is an instant-classic that easily ranks among Sarah’s best work.

Pay It No Mind (Lowlights):

Not to say there’s anything inherently wrong with testing the commercial waters, but songs like “Runaway Train,” “Take the High Road,” and “Days Can Turn Around” channel a reductive, songwriting-by-committee sound that feels like an attempt at pop-country. Big, simple chord progressions supporting even bigger lyrical cliches, an entire album of songs like these wouldn’t hold a candle to Jarosz’s back catalog. Fortunately, there’s only a few.

Gone Too Soon (Favorite Lyric and/or Moment):

Without a thought for what had passed and what was comin’
Back then I never thought I’d leave – “Columbus & 89th”

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3. Undercurrent (2016)

Following up the ridiculously high level of songwriting on 2013’s Build Me Up From Bones was never going to be easy, but on 2016’s Undercurrent, Jarosz seemed undaunted by the task. Despite the critical acclaim (the album earned Jarosz two Grammys), I’ve always found Undercurrent to be a somewhat frustrating listen. 

The record’s highs (“Green Lights,” “Take Me Back,” and the simply breathtaking “Jacqueline”) are all must-listens and among the best songs Jarosz has ever committed to tape. The rest of Undercurrents, however, largely feels a bit, well, stock. Songs like “Early Morning Light,” ”House of Mercy” and “Still Life” are all pleasant enough, but there’s an undeniable gap between the album’s best and the rest.

Still, Jarosz’s virtuosic playing and captivating vocals are in fine form from cover to cover, and the album’s best tracks are easily worth the price of admission.  Undercurrent may not be another Build Me Up From Bones, but delivering a solid follow-up in the wake of a career-defining album feels like a win in and of itself.

The Book of Right On (Highlights):

As mentioned above, “Jacqueline,” Jarosz’s heartfelt tribute to Jackie O, is about as good as it gets–next level songwriting! 

Pay It No Mind (Lowlights):

While it’s hardly a misstep, “Back of My Mind” feels like the sort of song Jarosz has written a dozen times over.

Gone Too Soon (Favorite Lyric and/or Moment):

Wrap me up in quiet sense, take me lost, make me found – “Take Me Back”

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2. Blue Heron Suite (2021)

We’ve now arrived at the point in this list where I honestly feel torn. Full disclosure, despite its placement, I adore Sarah Jarosz’s Blue Heron Suite. In my opinion, it’s a flawless (and largely underappreciated) piece of music that deserves any and all attention that it receives. It’s also my personal favorite release from Jarosz. Still, despite my profound love and admiration, there are two reasons for the Blue Heron Suite’s second place finish: the album’s runtime (a terse thirty-one minutes) and the fact that this is probably not the best starting point for someone looking to check out Sarah’s music.

As for the album: the Blue Heron Suite was originally composed in response to reviving the FreshGrass Foundation Composition Commission, and Jarosz premiered the piece at the 2017 FreshGrass Festival. A pair of traumatic events—Hurricane Harvey and a cancer diagnosis for her mother—served as emotional pivot points for Jarosz, and the singer operates in the pensive waters of self-reflection for much of the eleven-song suite. 

The opening lines of “Mama” offer a pretty good glimpse into Jarosz’s headspace at the time: “Mama, where are you goin? You know I need you, here.” “Morning” and “Across the Canyon” further set the table and introduce the bulk of the album’s musical and lyrical themes. Be it references to morning walks on the beach with her mother or the majestic blue heron, Jarosz succeeds at infusing the collection with a hopeful tinge of nostalgia.

Meanwhile, a pair of poignant ballads, “Painted Blue” and “Blue Heron,” serve as the album’s final ‘songs,’ while a four-part instrumental and a couple of reprises round out the thirty-one minute suite. Despite the release’s brevity, Blue Heron Suite is beyond cohesive, and every single second here serves a purpose.

From the flawless instrumentation to the warm, sparse production, Blue Heron Suite is also easily one of Jarosz’s best sounding records. But the real talking point here is the impassioned vocal performance. Given the subject matter, it’s little surprise that on her sixth release, Jarosz has found a way to push herself to new heights as both a singer and a lyricist. 

After dozens of listens, I’m still struggling to put into words just how emotionally affecting this album is, a testament to Jarosz’s skill as a songwriter. Fortunately, both the album (and real life inspiration) ends somewhat optimistically, as (at the time of this writing) Jarosz’s mother is alive and in remission.

The Book of Right On (Highlights):

The whole album? Honestly, the Blue Heron Suite works so well as a whole it’s difficult to decide on a specific part to highlight. That all said, the melody at the heart of “Mama” (along with its multiple reprisals) is simply sublime.

Pay It No Mind (Lowlights):

Again, there’s not a second here I’d edit. In fact, it’s the album’s brevity that provides the only substantial fodder for critique.

Gone Too Soon (Favorite Lyric and/or Moment):

She reminds me of you – “Morning”

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1. Build Me Up From Bones (2013)

When Jarosz’s third studio album, Build Me Up From Bones, was released back in 2013, fans and critics alike took notice. Thanks to a combination of alt-rock radio airplay (via the title track) and another pair of grammy nominations, the conversation surrounding Jarosz shifted. Yes, she was still an amazing player, but her maturity as a songwriter was undeniable. 

The album’s eleven tracks are an intriguing blend of bluegrass, folk, and Americana, with a touch of pop sensibility. And the growth doesn’t stop there, as much of the lyrical content is confidently introspective, and finds Jarosz exploring themes of identity and self-discovery. Her vocals are equally impressive, effortlessly conveying everything from longing to joy (and sometimes even in the same song). Yeah, there’s no denying it–Sarah Jarosz has a pretty impeccable catalog of music, but if you’re looking for her best release (or even just the best place to start), Build Me Up From Bones more than earns its place at the top of the list.

The Book of Right On (Highlights):

The album’s title track stands as an obvious standout, pairing flawless fingerpicking with an appropriately vulnerable vocal. “Over the Edge” might be her best opener to date, driven by a catchy chorus and compelling rhythm section. Songs like “Mile on the Moon,” “Anything Else,” and “Dark Road” all boast infectious vocal melodies, while her covers of Dylan’s “Simple Twist of Fate” and Joanna Newsom’s “Book of Right On” demonstrate her ability to make any song her own. The album-closing “Rearrange the Art” stands as a career highlight–a desert-island worthy track that showcases everything that makes Jarosz special. And while she’s written her fair share of haunting ballads over the years, “Anything Else” just might be her best.

Pay It No Mind (Lowlights):

Really have to nitpick to find something here, but being the stickler for rules that I am, I’ll cite “Fuel the Fire” as the one moment on that album that feels overly indebted to Jarosz’s past.

Gone Too Soon (Favorite Lyric and/or Moment):

Maybe I could call you on the phone, tell you all my thoughts, or maybe I should not – “Rearrange the Art”

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One Final Note: So there you have it, the Sarah Jarosz catalog in my order of listening preference. Honestly, you can’t go wrong with any of her albums, but if you’re reading this and you’ve yet to dive in deeper than Build Me Up From Bones, do yourself a favor and pull up the Blue Heron Suite on your streaming service of choice the next time you get in the car.