If Hot Night in Paris proves anything, it’s that patience can swing.

Out now, the new album from Myshkin and her long-running outfit The Ruby Warblers is a vivid, brass-laced ride through styles, cities, and states of mind. It’s playful without being lightweight, sophisticated without losing grit, and above all, it sounds like a band fully alive to the moment.

The record wastes no time setting the tone. The Light bursts forward with a driving pulse before giving way to a series of sharp left turns: the eerie sway of Birds on the Line, the smoky tango of Peace, the crisp, dry snap of Cut Set Polished. Each track feels like a different corner of the same nocturnal landscape.

And then comes the parade.

Thanks to drummer Danny Frankel, whose credits include work with Lou Reed and k.d. lang, the album periodically slips into a second-line groove that feels lifted straight from a New Orleans street procession. It’s loose, celebratory, and just a little bit unruly, in the best way.

But what really makes Hot Night in Paris land is the interplay. This is not a solo record dressed up as a band project; it’s a conversation.

Bob Furgo’s violin lines weave through the arrangements like commentary, while Victoria Williams’ guzheng introduces textures that catch the ear off guard. The horns, trombone and sax, don’t just decorate; they push, tease, and occasionally steal the scene. Beneath it all, upright bass and rhythm guitar lock into a groove that keeps everything grounded.

At the center stands Myshkin herself, delivering each line with a storyteller’s instinct for timing and tone. Her voice, silky but edged with steel, carries songs that tackle big themes without losing their human scale: power, beauty, courage, redemption.

There’s also a sense of release here. Many of these tracks were longtime live favorites that never made it onto previous records. Captured at last in Joshua Tree, they arrive not as archival pieces but as fully realized performances, sharpened by years on stage.

The result is an album that feels both lived-in and immediate.

For an artist whose career has spanned New Orleans clubs, international festivals, multimedia experimentation, and a recent chapter in Scotland, Hot Night in Paris acts as a kind of creative snapshot, one that somehow captures movement itself.

It’s a late-night record, a road record, and a band-at-full-tilt record all at once.

And it swings.