Long-time IG fans (including me) concerned about the break from the traditional IG sound represented to some extent by "Swamp Ophelia" and carried much farther by "Shaming of the Sun" needn't be -- "Come on Now Social" marks the Girls' return to top form. Gone indeed are the two voices/two guitars sounds of "Strange Fire" and "Indigo Girls," but what's here in "Come on Now Social" is simply different from the early albums, and far from a disappointment. The album takes off with the hard-rocking (and quite satisfying) "Go," but follows up with the gentler "Soon Be to Nothing" and the fresh and delightful "Gone Again." Other tracks are equally enjoyable, including the lush, horn-enhanced sound of "Peace Tonight" and the edgy, Celtic-influenced "Faye Tucker." What's perhaps most comforting to an old-time fan like me is that Amy Ray and Emily Saliers don't seem to be pulling apart here like they did in their last two studio albums, drifting in different directions -- Amy into the gritty, angst-filled, hard-edged songs, Emily farther into the contemplative, softer sound. This album feels far more unified, with some refreshing "role reversal" -- Amy playing it softer in "Gone Again" and "Sister," Emily taking the "hard road" in "Trouble." After listening to "Come on Now Social," I no longer feel like I have to pull out "Rites of Passage" or "indigo Girls" to find an IG sound I like. The current album puts them on solid, united ground once again. The sound may be more layered and far more instrument heavy than their first four studio albums, but the IG soul is still there. Fear not.

At first listen, "Come on Now Social" is quite different from previous albums, but consistent with the progression of the Indigo Girls. Ten years have passed since the release of their debut, but their music remains true to the core. Amy and Emily bring different elements to each album, but the end result is always new and different. Clearly, they are not afraid to experiment.

Their latest album showcases their ability to alternate between the driving guitars of "Go" and "Compromise", the sweet harmony of "Soon to be Nothing" and the classic acoustic "Ozilline."

While the sound is a bit different, their abilty to rock has never been doubted - whether on an acoustic or an amped-up electric guitar.

Musically, they expand their horizons with each new album. "Come on Now Social" finds Amy and Emily experimenting with the banjo, the mandolin, the bazouki, electric guitars, electric slide guitars, and the classic acoustic guitar.

Those of you lucky enough to hear their live performance on NPR's "World Cafe" know that they still have the ability to perform stripped-down, acoustic versions of their newest songs. I hope to catch a live show if they ever return to Alaska.

P.S. "Go" isn't that new. Check out the hidden track on 1200 Curfews - disc 2. I thought the chorus sounded familiar...

After a disappointing concert in Waterloo, NJ this August and a disappointing last album (Shaming of the Sun)I admit that I was a bit leary to buy this album. It was only after hearing so many wonderful things about it that I broke down and picked it up. Needless to say, this album renewed my faith in the amazing work that Amy and Emily produce. Come On Now Social is a potpourri of stylings from Bluegrass (Gone Again), to rock (Go), to the familiar Indigo folk that we all know and love (Andy, Soon to be Nothing). And although I don't forsee any radio hits, there will surely be many fan favorites. I guess one of the charms of the Indigo Girls is that they don't sell out and rely on radio (over)play. I also want to make mention of a hauntingly beautiful hidden track at the end of the disc. I didn't even know it was there at first and it should have been included on the playlist, but I will admit that it was fun to discover it later. I give this CD 4 stars instead of 5 simply because the harmonies aren't as tight and together as usual, and it's much more obvious than on previous albums, what is Amy's and what is Emily's, but as a whole, Come On Now Social is a wonderfully crafted album and definitely worth owning.

The fifteen-year career of the Indigo Girls is like a math theorem. From clear and stripped-down acoustic guitar beginnings, their seven full-length releases present a logical progression of musical growth, culminating in the realm of Come On Now Social. But just as a calculus proof might stump a student who skips the middle steps, jumping into Social from the campfire days of "Closer to Fine," one would hardly recognize this band as the inspiration for broken-twig marshmallow roasting sessions. Depending on the audience's ability to grow, tolerate, and adapt to the duo's organic experiments, some older fans may sense the threshhold of alienation on their latest. Amy Ray and Emily Saliers continue their evolutionary path on Social, all but abandoning their former band in favor of Sinead O'Connor's former British tourmates. The results are initially intriguing, like the Girls' previous Swamp Ophelia effort with subtle world-beat additives for a smoother ride. Amy Ray's punkish "Go" opens, an unusually aggressive move for a band that just two albums ago seemed headed for the fading void of adult contemporary rock. Following is Emily Salier's most poignant and crafted acoustic offering to the project, "Soon Be To Nothing." With a natural lyrical flair, Saliers touches hearts in the face of inevitable heartache: "You tell me it's temporary it's just a matter of time/By God don't you think I know what's in my mind/It's right over left and healing and then/I'll soon be to nothing but I don't know when."

After just three songs, Ray throws an alt.country loop, twanging away on "Gone Again" like so many former Uncle Tupelo vocalists. While irresitably charming with her southern twang, the songwriter surprisingly uses Australia's Kakadu National Park and various big-city landmarks down under as the backdrop to amorous adventures (for anyone familiar with Kakadu, it fails to rank among the word's most romantic locations). The song also marks longtime prolific drummer Jerry Marotta's only appearance. Other significant numbers are Saliers' feel-good "Peace Tonight," simultaneously appealing and forgettable (and the first single), and the punk rock-fest feel of "Compromise," where Ray musically exposes her lifelong love for Husker Du. In fact, if not for Ray balancing Saliers' contemporary adult tendencies, Social would hardly leave an impression to first-time fans.

A few differences from previous efforts: the Girls' characteristic harmonizing vocals take a backseat to the new collaborative band sound, as does Saliers' masterful guitar solo, which on past efforts substantiates some of the more profound moments of her work. Social also features a rotating panel of guest vocalists, including Sheryl Crow, Joan Osborne, and Me'Shell Ndegeocello, among others, though none leave a significant impression with their presence.

The Atlanta-based group has unquestionably evolved artistically over their decade in the spotlight, and while Social logically follows the evolution from previous studio release Swamp Ophelia, those left off the loop for a couple of years may be surprised at the manifestation of Amy Ray's punk influences. These are not your camp counselor's Indigo Girls, but a fine effort for longtime fans. ...

Well.

I must say I'm not in the least bit disappointed. This CD hasn't left my stereo, nor has the tape left my car stereo, since I got them. Amy Ray and Emily Saliers continue to branch out and evolve with breathtaking ease and skill. CONS picks up on where "Shaming of the Sun" left off, and improves on it vastly; the expanded instrumentation is more integrated, the musical styles more diverse, the lyrics as in-your-face and thought-provoking and intelligent as ever. Amy handles the infectiously upbeat bluegrass feel of "Gone Again" and "Ozilline" with as much ease as she does the punk-rock drive of "Compromise" and "Go." Emily, as well, proves her versatility, with contributions ranging from the lovely ballad "Soon Be to Nothing" to "Peace Tonight" and its horn-enhanced groove to the surprisingly aggressive rocker "Trouble." "Sister" is Amy at her brooding best, a haunting, visual tune; "Cold Beer and Remote Control" is Emily's lighthearted look at a slice of American society. This isn't the starkly acoustic duo of some ten years ago, but that's okay by me, because artists evolve. And if the Indigo Girls' evolution continues to produce albums as engaging and exciting as "Come On Now Social," I'll be there for the rest of the ride.