Ryan Edward Kotler’s new single “Mary Anne” arrives after a string of bare‑bones folk songs. Early tracks such as “In My Time of Constant Sorrow,” “Loneliness Is Killing” and “Insomnia” leaned on acoustic guitar and voice, favouring honesty over polish. Instead of his usual guitar, he lets steady piano chords and gentle drums carry the mood, giving the track a late‑night closing‑time feel.
What strikes me about “Mary Anne” is its soft yet commanding presence. Kotler sings with enough emotion to grab your attention, and the simplicity of the arrangement is part of its appeal. The piano sets a warm pulse, with understated percussion that does its job without calling attention to itself; even the tambourine is subtle but effective. This restraint allows Kotler to deliver one of his most cathartic vocals. The verses feel confessional, while the choruses open up and stretch into a fuller emotional space, making the song intimate, grounded and quietly ambitious.
There’s also a timeless quality here As someone who loves John Lennon’s “God,” I hear a similar rawness in Kotler’s approach. Lennon’s 1970 song closed the book on his past and famously declared, “I don’t believe in Beatles”. It used sparse instrumentation to emphasise the confession. “Mary Anne” doesn’t renounce a cultural myth, but it shares the honesty and simplicity: the arrangement is stripped back to piano, drums and voice, inviting listeners into Kotler’s internal reckoning.
What makes “Mary Anne” compelling is how comfortable he seems inside his own style. The track preserves the intimacy of his earlier work while pointing toward a broader sonic palette. If his upcoming debut LP continues along this path, “Mary Anne” suggests that Kotler may be entering the most promising chapter of his songwriting yet.