Sam Varga gives us his “emotional and social diary of 2025” with ‘The Fallout’

Recommended Tracks: “Isabella,” “Long Way Back,” “Minute Man”
Artists You Might Like: Wilmo, Zach Hood, Bilmuri

All year long, Nashville-based singer and songwriter Sam Varga has given fans glimpses into his world. From exposing love interests and past relationships to ruminating on his fears and personal observations, Sam has channeled it all into catchy, invigorating music. There are hints of Americana, folk, pop-punk, and emo sprinkled throughout these songs, allowing Sam to connect with fans sonically, as well as lyrically. Of course, these singles have been building toward something, and that something is Sam’s latest EP The Fallout. Self-described as his “emotional and social diary of 2025,” The Fallout alludes to a young soul that is finding its way, doing its best to manage life’s uncertainties and balance out the good with the bad.

The EP opens with the previously released “Isabella” and “Long Way Back.” With “Isabella,” Sam plays out a fantasy of a bartender falling in love with him, which all started with an innocent smile from her. To the sound of jovial string riffs and lively hand claps, he sings, “I’m hanging on your words like the cross around your neck / And I’m contemplating ways I can embarrass myself next / Wonder if you’ve got a boyfriend and what he’d do to me,” hoping that she will pick up what he’s putting down. The vibes severely shift, however, on the following “Long Way Back.” Here, Sam recalls an old relationship. He compares it to a train ride, one that was heading in the wrong direction. But despite his better judgement, he decided to continue on. With a bittersweet tone, he describes, “I stayed too long / Trying to keep that train on its rails / Could’ve saved us trouble if I bailed.” Still, he knows that nobody is at fault for what happened, admitting, “We were only holding hands ‘cause we were lost.”

The next couple of tracks touch on mental health. On the stripped-back “Sunday Scaries,” Sam gives into negatives and doubts. He gets in his head, singing, “I don’t think I wanna be / Who I’ve been recently / Who the hell am I fooling? / I should probably act my age.” It’s a soft track that everyone can identify with, as we all have moments where we second-guess actions, raise expectations, and put unwarranted amounts of pressure on ourselves. When you slow down for a while, however, you can see a bigger picture. Sam tries to rationalize his thoughts on “What if I’m Okay?,” assuming that his problems might not be as bad as he believes. The expansive music goes hand-in-hand with diaristic lyrics like, “Maybe I’m just bitter that my problems can’t compare / I resent when people tell me I should be happy / ‘Cause then I have to stop taking myself so seriously.” In the end, there is hope to latch on to, hope that all will work out.

Sam ends The Fallout as strong as possible, with tracks that further expand his artistry. There’s “Queen of the Ashes,” a scathing diss track about an old flame. It has a fast-paced spirit to match Sam’s salty energy, with acoustic-guitar lines and drum beats that move the lyrics along. From there, we get into “Minute Man,” which takes on a country and folk vibe. All the while, Sam brings attention to what’s happening in the world, commenting on some of the ambivalence and ignorance he’s seen. In the end, he declares, “It’s the new norm now,” surrendering to the chaos. He then closes out the project with “#7,” touching on the importance of perseverance. Over the acoustic guitar breaks and twangy riffs, he shares, “I’ve ruined my walls trying to find something that sticks / I’m good at getting better, trouble is sticking with it.” Again, Sam fills us in on some of his doubtful thoughts and tendencies, but he leaves us with the idea that he will keep working on himself and keep trying to give himself more credit.

Basically, Sam gives us all he’s got on The Fallout while making way for a new chapter. He presents tangible and visual stories on this EP, enveloping us in fresh details and feelings that bring the music to life. He also sings with such vigor, delivering lines with a free spirit that supersedes any hesitations he may present to us lyrically. And his ability to be in multiple genres at once is cool and exciting, pushing him into new territory. He has mentioned that The Fallout “puts to bed a lot of concepts I’m leaving behind: warring with myself, the self-deprecation, and any residual bitterness I’ve carried. I’m stoked that all of that was alchemized into something fun that just rips.” You can truly hear the fun, the intensity, and the letting go that Sam describes—making it a fallout you don’t want to miss.