Local Review: Joshua’s Opera — ACT 1: PRODIGAL

Joshua’s Opera
ACT 1: PRODIGAL
Claff Manor
Street: 01.01.2026
Joshua’s Opera = John Prine + The Strokes + Bruce Springsteen

Joshua’s Opera’s latest EP is a politically charged display of garage-infused folk rock. Nashville-based, Utah native musician and songwriter Joshua Claflin, aka Joshua’s Opera, who has been releasing music since at least 2023, released ACT 1: PRODIGAL under the Joshua’s Opera pseudonym in January.

The first track, titled “substance for something else,” opens with Mellotron flute chord arpeggios that start bright and airy with bird song filling in the sonic space. This is a subtle misdirection, as the chord harmonies quickly turn dark and menacing. This breaks away into a blistering garage rock banger with cutting, poignant lyrics that speak to our current technofeudalist times. The drums propel the track forward with a nervous intensity. The beat starts filtered and distorted before opening up into its full sound that’s filled to the brim with rolls and fills. Driven velcro fuzz guitar licks provide fuel to the engine of the song as it builds. The melodies are intricate but still catchy and infectious. This builds to the track’s final crescendo with a screaming intensity that relents to the rolling outro. The spoken word outro reveals the final wink to the audience.

The second track, “since the day it was built,” starts with delicate acoustic guitar picking as Claflin sings the story of the time he visited the State Capitol, I presume the one at the top of State Street, in Salt Lake City. The narrative-style lyrics are akin to the lyrics of classic folk artists like Phil Ochs or John Prine. His songwriter chops are on full display. The message of the song is clear as day, so I won’t spoil it further. I’ll simply say that it’s a fitting song for our current political climate.

“no control,” the third track on the EP, switches things up slightly. A quiet, felt more than heard, synth sound along with some chorused guitar licks back up more acoustic guitar picking. This gives way to a driving beat, toasty guitar licks and rock n’ roll organ. The guitars lean into a southern twang sound and are wide in the mix. It’s the shortest cut on the EP, but it leaves a strong mark.

The EP is carried to its close with a moody, stripped-back acoustic cut. “stranger” is emotional and vivid. The guitar is present, and the vocals pull you into the world they create. The sound is sparse, yet each note sung or played is felt. It’s an ‘if it ain’t broke’ approach that provides a solid conclusion to the EP.

The EP is political with an urgent message and a delicious delivery. The mix has lots of analog warmth and character without being muddy or thin. Claflin’s songwriting is undeniably technical without being flashy or snobbish. His sound selection is considerable, no part feels out of place and his lyric writing is witty and clear. At times, it’ll feel like a protest march, and at others, the EP feels like a night of drinking with friends. His vocal stylings match the melodic aesthetics of the song perfectly, whether it’s the more growly shouting hooks on “no control” or the Ochs-style rhyming melodies on “stranger.” If you are a fan of classic folk revival protest songs, as I am, I can’t recommend this EP enough. My only complaint is that I want the next seven (I presume) acts to get released already. —JP

Read more reviews of local music:
Local Review: Portal to the God Damn Blood Dimension — Diluvium Cantos
Local Review: Sego — Direct to DVD

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