John R. Miller’s The Great Unknowing expands his country-rooted songwriting without leaving its working-class concerns behind. The album moves between acoustic character studies, honky-tonk arrangements, and louder electric passages, but Miller’s focus stays on people dealing with disappointment, economic pressure, and their own bad habits. Greg Brown’s 1994 album The Poet Game offers a useful earlier model. Brown also built songs from ordinary lives and local details, then allowed broader social concerns to emerge without turning the writing into commentary first and music second.