Ward White is probably best known as one half of the chamber pop duo, McGinty and White, which features former Psychedelic Furs keyboardist and founder of The Loser’s Lounge tribute series, Joe McGinty. Their debut effort together was released to praise from the likes of The New Yorker and The New York Press, a publication that I once wrote for several years ago. However, White has simultaneously and quietly has developed a reputation as a solo artist of note as his previous effort Bob and his most recent effort, Ward White Is The Matador have been praised by the likes of iTunes, New York Magazine, Magnet, and CMJ for a sound that’s been compared to Scott Walker (one of the more underrated and under-appreciated songwriters of the past 50 years or so), 70s David Bowie, and others; in other words, a sound that’s borrows liberally from glam rock but with an artsy sheen, as you’ll hear on WWITM’s latest single “Drive Thru." 

As I was listening to "Drive Thru,” I immediately thought of several of my favorite Bowie albums as the song has a similar swaggering nature – and yet, there’s a biting irony and aching loneliness at the heart of the song that sets it apart from countless other indie rock songs. It comes from a lived in and fucked up place – the sudden end of a relationship and its crushing and confusing loneliness; the despair of lonely men, desperate to reach out to anyone to talk to, to understand them, even in passing. Plus, that guitar line, man.