Grey DeLisle – Don’t Turn Around (2026)

Grey DeLisle, widely recognized for her extensive work in voice animation, has once again demonstrated her musical prowess with the release of her 2026 album, Don’t Turn Around. Balancing a busy career in voice work, DeLisle's latest project sees her fully embracing her talents as a vocalist and songwriter, delivering a diverse and engaging collection that blends elements of country, Americana, and retro-pop.

The album’s production history is marked by the contributions of two key figures. The late Andy Paley initially helmed the production, embedding the record with his signature harmonies and melodic sensibilities. Following Paley’s passing, Marvin Etzioni took over production duties, maintaining the original vision while adding his own nuanced touch. This seamless transition has allowed the album to retain a cohesive sound that highlights DeLisle’s vocal flexibility and incisive lyricism.

Don’t Turn Around stands out for its richly layered instrumentation, featuring an impressive roster of Americana musicians. Alongside Etzioni and Paley, who contribute a variety of instruments from guitars to more eclectic sounds like harpsichord and glockenspiel, the album enlists talents such as Murry Hammond, Stephen McCarthy, Greg Leisz, Mickey Raphael, and Tammy Rogers. This ensemble brings depth and texture, bridging traditional roots instruments with unexpected sonic elements that freshen the album’s country foundation.

Musically, the album opens with a sultry honky-tonk number, Every Day of the Week Ends in Why, where DeLisle's straightforward vocals ride over pedal steel and electric guitar. This track sets a tone of emotional directness and musical authenticity that permeates the record. It is followed by a Tex-Mex influenced duet, You’re Driving Me Away, featuring Dave Alvin. His rugged vocal tone contrasts effectively with DeLisle's clear voice, creating a compelling dynamic.

One of the album’s highlights, Drive Around, showcases a breezier pop-country style, with soaring vocal melodies layered over bright arrangements. The shift in tone demonstrates DeLisle’s ability to navigate between genres without losing the album’s cohesive identity. Similarly, Disneyland delivers jangly rock with an infectious chorus, while Don’t Break the String incorporates folk influences and introspective lyricism, hinting at DeLisle’s skill as a storyteller.

Further into the album, tracks like Your Mama Doesn’t Love Me Anymore reveal inventive instrumentation, pairing harpsichord with pedal steel to create a unique country-baroque fusion. Open Mic At The Stumble Inn adds a steady, funky groove to the mix, highlighting the album’s stylistic range. Meanwhile, The Lights Are Off But Somebody’s Home channels rockabilly with a dark narrative, underscoring DeLisle’s versatility in vocal delivery and thematic exploration.

The concluding track, Claire, stands apart as a deeply personal ballad inspired by Claude Debussy’s Clair de lune, reflecting DeLisle’s classical music influences. Dedicated to her estranged mother, the song features a delicate arrangement that balances multiple instruments without overwhelming the intimate vocals. This cinematic piece resonates as an emotional centerpiece, encapsulating themes of distance and longing with poetic simplicity.

Overall, Don’t Turn Around is a testament to Grey DeLisle’s multifaceted artistry. It highlights not only her vocal adaptability but also her capacity to craft sharp, heartfelt lyrics. The album’s collaborative production and diverse musical palette elevate it beyond conventional genre boundaries, securing its place as a noteworthy release in 2026’s Americana and country scenes. While her voice acting remains a primary career focus, DeLisle’s musical output continues to captivate, offering listeners a richly textured and emotionally resonant experience.