(Artist Update)

Written by: Ginny Gaines  

By the time January 9, 2026 rolled around, Devon Allman quietly released one of the most surprising records of his career. It was called nightvision, and right away it felt different from anything he’d done before. For years, Devon Allman had been known for blues-rock, Southern roots music, and soulful vocals. But nightvision didn’t have a single sung word on it. No choruses. No verses. Just sound.

This album was built during long nights, mostly at home, over several years. During the pandemic, when touring slowed and time stretched out, Allman turned inward. Instead of writing songs meant for radio or live crowds, he started creating moods. Feelings. Scenes. nightvision became music you don’t just listen to — you drift through it. Rather than sounding like a typical rock album, nightvision plays more like a movie without pictures. The music moves slowly and deliberately, full of echoing guitars, deep bass lines, steady drums, and layers of synthesizers. It feels cinematic, like driving alone at night with the highway lights blurring past, or watching an old science-fiction film in a dark room.

One of the most personal parts of the album is that Devon’s son, Orion Allman, plays synthesizers throughout the record. This was Orion’s first time appearing on an official release, turning nightvision into a quiet family collaboration. Longtime musical partners John Lum on drums and Justin Corgan on bass help anchor the album, keeping it grounded while the music floats into dreamier territory.

The tracks themselves feel like chapters in a storybook. The album opens with “Awaken,” which slowly pulls the listener into this nighttime world. From there, the music travels through imagined deserts, ancient cities, and sci-fi landscapes. Song titles like “Arabia – The Approach,” “Dead Sea Scrolls,” and “Welcome to Rylos, My Boy!” hint at far-off places and hidden stories. There’s a strong sense that each track connects to the next, as if the whole album is one long piece rather than separate songs.

Devon Allman has described the inspiration as something like Pink Floyd and The Cure blending with old science-fiction imagery, and that description fits. The album feels retro and futuristic at the same time. There are moments that are calm and meditative, and others that slowly build tension, but nothing rushes. nightvision asks the listener to slow down and sit with it. The final track, “Plans Within Plans,” closes the album quietly and thoughtfully, as if the story doesn’t really end, it just fades into the dark.

When nightvision arrived, many longtime fans noticed immediately how bold the move was. Devon Allman didn’t abandon his musical roots, but he stepped far away from them to explore something more personal and experimental. Instead of proving how well he could sing or shred, he focused on atmosphere, emotion, and imagination. In the end, nightvision stands as one of the most adventurous records Devon Allman has ever released, not an album meant to be played loud at a party, but one meant for late nights, long drives, and quiet moments when music becomes a place you can disappear into.

That's a wrap for my update on Devon Allman's new album "nightvision"...Thank you for reading and in closing, please just know, Soundwave Music Media will be here and I will always do my best to bring you the rock music report! Please consider supporting me and the crew by purchasing a Soundwave shirt or hat and support our sponsors! Rock On! Until next time...🤘

The tracks themselves feel like chapters in a storybook. The album opens with “Awaken,” which slowly pulls the listener into this nighttime world. From there, the music travels through imagined deserts, ancient cities, and sci-fi landscapes. Song titles like “Arabia – The Approach,” “Dead Sea Scrolls,” and “Welcome to Rylos, My Boy!” hint at far-off places and hidden stories. There’s a strong sense that each track connects to the next, as if the whole album is one long piece rather than separate songs.

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