Stephen Mugford’s ‘Palooza Beach’ Gets Its Moment in the Sun

What’s compelling about Stephen Mugford’s debut album is how it keeps drawing people back. Released last September to strong critical acclaim, Palooza Beach has been quietly building momentum, winning over listeners with its warmth and authenticity. Now, nearly a year later, the eight-track record is enjoying renewed attention, and it’s easy to hear why.

Stephen Mugford, who left corporate life two decades ago after a health scare made him rethink everything, brings something refreshing to the table. This isn’t some twenty-something trying to figure out who they are. It’s a guy who’s lived, who’s got stories, and who knows how to tell them without trying too hard.

The album opens with “People Watching,” which sets you up perfectly for what’s coming. There’s this slinky brass line that winds through the track while Mugford muses about strangers who might be secret spies—it’s playful without being silly, thoughtful without overthinking. The whole thing feels like sitting at a beach bar, watching the world go by with a debonair haze and cold drink in hand. “Easy to Love” is literally, easy to love. “Backside of the Moon” keeps that mellow groove going with nuances of bossa nova and a bass line that just won’t quit, while “Wild Things” shifts gears into something more tender—a love letter to his kids wrapped in rich guitars and genuine emotion. Each track builds on this sense of place and mood, creating an album that feels less like a collection of songs and more like chapters of the same sun-soaked story.

You can hear his influences pretty clearly. There’s Jason Mraz’s sunny outlook, some of Paul McCartney’s knack for melody, and Willie Nelson’s laid-back acoustic vibe. But Mugford isn’t trying to be any of them. He’s taken what he likes and built something that feels authentic to who he is—a former poetry student who kept journals for decades before deciding to turn those thoughts into songs.

Working with producer John Escobar and Grammy-winning guitarist Claudio Ragazzi could’ve pushed the album into overproduced territory, but they kept things grounded. Every horn section, every string arrangement was recorded live with a crew of Berklee alumni. You can feel the difference—there’s warmth in these tracks that you don’t get when everything’s programmed and polished to death.

The recently released live version of “Easy to Love” shows exactly what makes this collaboration special. While being billed as “raw” and “stripped-back,” it’s actually a beautifully intimate ensemble piece. Claudio Ragazzi’s guitar work weaves perfectly around Mugford’s vocals, while pianist Zahili Gonzalez Zamora adds subtle touches that elevate the whole thing. John Escobar’s percussion keeps everything moving without overwhelming the delicate balance. You can watch the performance on YouTube, and it’s worth seeing how these musicians interact—there’s a chemistry there that you can’t fake. Mugford explained he wanted to capture “the less filtered, raw feelings that all of these songs emanate from,” and this live take achieves exactly that without sacrificing the musical sophistication.

“Not Gonna Let the Devil” is another notable hit on the album, taking a folk turn, with the kind of perseverance anthem that doesn’t beat you over the head with its message. “Let Me Get This Straight” hits you with just the right attitude and shakes things up, showcasing Mugford’s knack for bringing in the energy. And when you hit the title track at the end, with its declaration of “I choose the beach!”—it lands like the end credits of a movie you didn’t want to end. After thirty-two minutes of this debut experience, you’re ready to make the same choice.

Here’s what strikes you about Stephen Mugford: he’s not chasing trends or trying to sound younger than he is. At nearly sixty, he’s making the music he wants to make, drawing from almost six decades of living, observing, and writing things down. There’s no pretense here, no attempt to be cooler than he is. Just a guy with talented friends, creating something genuine together.

The album clocks in at just over half an hour, which feels about right. It doesn’t overstay its welcome, doesn’t try to be more than it is. It’s a collection of moments that resonate—the kind of songs that stick with you after the music stops.

What makes Palooza Beach special is its lived-in quality. These aren’t songs written to fill an album quota. They’re the result of years spent reflecting, as Mugford puts it, “in tune.” Each track carries the weight of real experience without feeling heavy. Instead, there’s this buoyant optimism threading through everything, even when he’s singing about life’s struggles.

For anyone seeking music with genuine soul and substance, Palooza Beach delivers. It’s personal without being self-indulgent, polished without losing its heart. And in a music world that often feels oversaturated with content, finding an album this sincere and unpretentious is worth celebrating.

You can find Stephen Mugford on Instagram, stream Palooza Beach on Spotify, check out his artist page, or listen on Apple Music.