Album Review: Pops Fletcher & the Hucksters – Almost Live

Primarily a regional live act, Wisconsin-based Matthew “Pops” Fletcher Goodwin and his band have nonetheless earned some high-profile exposure of late. Midwestern indie-focused podcast Making a Scene profiled Pops Fletcher & the Hucksters in late 2025, shortly after the release of Almost Live, and the album took the top spot in Roots Music Report’s Wisconsin chart in January.

As its title suggests, Fletcher’s album is not in fact a concert recording. Instead it’s the product of a live-in-the-studio session with minimal overdubs and post-production. The intent, of course, was the capture the feel of a live gig and combine it with the fidelity and control that can come from working in the recording studio.

Fletcher – who sings, plays guitar and Wurlitzer – serves up 11 tunes on Almost Live, all originals. The set opens with the upbeat, chugging “Trickle Down.” Todd Phipps’ Hammond introduces the tune, and Fletcher’s vocals take center stage. A very familiar “standard blues changes” format anchors the tune, but the band – most notably Phipps (and briefly guitarist JD “Mitch” Mitchell) – makes the most of it, taking turns at delivering catchy solos.

More interesting is “Johnny Gets Around.” Guest guitarist Glenn Davis introduces the track by peeling off some delicious slide guitar; the rest of the band offers solid support. Close harmony work from Phipps enhances Fletcher’s lead vocal. Davis returns for an even livelier solo, then Phipps takes a spotlight on the organ.

“Red Canoe” is firmly rooted in the blues but delivered in a modern, sophisticated and rock-leaning arrangement. The Wurlitzer (from either Fletcher or Phipps) adds even more appeal, and the backing vocals are a highlight. Mitchell opens up for a slightly lengthier solo here, and it’s impressively executed. “Try” slows things way down; the band leans into the blues feel; once again, Davis’ guitar solos are the high point, but Phipps’ multiple keyboards and the band’s harmony vocal work deserve praise as well.

A country vibe informs “You Don’t Write”; its inclusion underscores the variety of Fletcher’s songcraft. Fletcher and the Hucksters get funky on “Rearview Mirror”; Nic Fugate’s drums and some understated yet rock-solid bass work from Tim Walter hold things together. Mid-song, the tune turns into a lively lead guitar battle, easily making “Rearview Mirror” the most fiery track of the set. Rock and blues meet again for “Anybody Could Love You,” a riffy number with another ace guitar break. Intentionally or not, “The Pleaser” recalls the more yacht-rocking moments of artists like Hall and Oates, Boz Scaggs and the Doobie Brothers.

The highlight of the uptown funk-flavored “Toxic” is Nic Fugate’s assured percussion; here, Fletcher’s vocals lean in a jazz-singer direction. Phipps turns in yet another pleasing Hammond break. “All About Love” conjures warm memories of the best of mainstream ‘70s Album Oriented Radio. The set closes with the uptempo “Trouble Comin’,” a showcase for each and every player in the band. Almost Live is a varied set indeed.