Local Review: The Snarlin’ Yarns — The Remedy

The Snarlin’ Yarns
The Remedy
Self-Released
Street: 01.20.2026
The Snarlin’ Yarns = Fruition + Deer Tick

Navigating through a daily existence bombarded by the constant mosquito-hum of digital “enrichment,” artificial content and the societal demand for a complete adherence to the God of efficiency, I (like many others) tend to turn to music to self-medicate. That is easier than ever, with the entire recorded history of music at my fingertips everywhere I go. Further, I truly believe we are in a new golden decade of rock, pop and a million other genres that utilize a combination of those two words. At times, though, I think it is really easy to lose the plot when it comes to what music is all about: the act of bringing people together in its creation and consumption.

The Remedy, the recent LP release by local Ogden band The Snarlin’ Yarns, is a good reminder of how enjoyable, inclusive and approachable the act of making music can be. Bluegrass without trying to constantly mushroom stamp the audience with instrumental virtuosity and folk music without the academic condescension and gatekeeping, this is just a fun album and worth a listen. 

This group utilizes four songwriters: Mara Brown, William Pollett, Abraham Smith and Tommy Dolph, each offering a unique voice to the musical blend. The band’s social media presence also speaks in a sort of pirate swagger meets Tom Bombadil singy-songy way, which adds another layer to the stories told in the music but also lends the vibe that these people really enjoy hanging out and drinking Double IPAs together on the porch (which I’d imagine is a required skill for a functional bluegrass band). 

The first song that stood out to me was “Let It Slide,” a hopeful yet wistful tune written by Dolph. The band has a really good performance on this one, with solid harmonies and a simple but well-delivered arrangement. The lead vocal relays a relatable message of a spurned lover getting their life together. No matter how many tasks get completed, nothing feels right without the one you love. We’ve all been there, and that’s why I think this track is so effective. 

My favorite thing about “Let It Slide,” as well as several other songs throughout the album, is the interjection of Smith’s vocal for a verse. Rustic yet rhythmic, Smith’s voice reminds me a lot of Levon Helm. Structured like rap features, his verses are very well delivered and add a lot of flavor and character to the music. 

A second high point of this record was another song of Dolph’s titled “Riverdale Road.” A facetious ode to Utah capitalism, this song pokes fun at the box store Mordor that some areas of this state have become (ironically, when it becomes a data center wasteland patrolled by robot security dogs, we may all come to reminisce on the days of soda shops and In-N-Out parking lot drive-throughs). Dolph has a Shel Silverstein style of writing that I enjoy very much. Smith’s verse on this one sounds like he’s being broadcast through an old radio, and the lyrics don’t make sense to me after several listens, but I’m not sure they really have to.

Every song on this album is poetic and well-crafted, and I could see any of them holding “favorite song” energy depending on the listener. Overall, The Remedy is well produced and a great addition to the discography of a thriving Utah music scene. —Cole Stocker

Read more music reviews by Cole Stocker:
Local Music Singles Roundup: June 2026
Review: Marlon Funaki — Half Moon

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