Ringo Starr, “Look Up.”

There’s no questioning Beatles great Ringo Starr’s commitment to the bit on his 21st solo album, Look Up. The drummer finds a little Southern comfort on the country-influenced record with help from the likes of Alison Krauss, Billy Strings and producer T-Bone Burnett. Not unlike Robert Plant’s work with Burnett, Starr taps into folky and rockabilly sounds.

What’s interesting in listening to tracks like rootsy opener “Breathless” is that there’s still a Beatles-esque quality from a songwriting perspective. It’s a collaboration with bluegrass shredder Billy Strings, and it’s easy to envision it as a Fab Four tune, but with an acoustic arrangement and folky sway.

Strings returns later on “Never Let Me Go.” Somehow, the folkier the songs get, the more they sound like Ringo’s old band. Burnett has a knack for bringing out the best in artists, and Look Up is no exception. The arrangements are crisp, and Starr’s delivery is authentic.

The record doesn’t entirely lean toward American roots and country music, however. Ringo teams up with NorCal native Molly Tuttle on the down-tempo rock of the title track. He’s well into his ‘80s now, but the vocals are sweet and soft, with a hint of vulnerability.

Everything comes together well on the slide-guitar-laden “Time On My Hands.”

“I’m over her now; that bridge has been burned,” he sings.

Tuttle and Starr harmonize on sweet ballad “I Live For Your Love,” which finds middle ground between folk (a twangy guitar deep in the mix) and pop. Then, the bare bones arrangement of “Come Back,” featuring duo Lucius, takes the record to a bygone era, whistling guitar to boot.

The pace picks up for Tuttle duet “Can You Hear Me Call,” which sees her and Ringo exchange lines before coming together for the chorus. The sound here is a bit more contemporary, with a country music aesthetic.

The coolest song on the album is the bluesy “Rosetta,” with not only Billy Strings but also Larkin Poe. It’s like something from Willie Nelson but with extra stomp. Ringo then turns to honky-tonk for “You Want Some,” which works with twangy simplicity.

Like a late-night hootenanny, or jam session, the album’s conclusion features the collaborators coming together. First, Tuttle and Larkin Poe join in on mid-tempo tune “String Theory” (what, no Billy on this one?).

Starr saves the best for last, introducing Krauss collab “Thankful.” Another frequent Burnett collaborator, Krauss harmonizes with Starr on the sweet and introspective ode to being grateful about the positives in the world.

Follow writer Mike DeWald at mikedewald.bsky.social.