City Keepers is the eagerly anticipated new release from singer-songwriter, Kim Dellavedova.
The quality of Dellavedova’s songwriting on the record is formidable, not afraid to employ a
killer riff, her stripped back songs are punchy and have choruses that want to be sung.
Kim has been captivating audiences with this collection of songs live, performing with 60’s
tone-master guitarist/producer Scott Wilson, delivering her take on classic country/soul,
swampy blues, to songs with refreshingly cheeky, upbeat pop/rock grooves.
While the strength of Dellavedova’s songwriting on this album is outstanding, the
performances and recordings are stunning. The album has already been described as one of
Australias finest collections of folk/country music.
http://www.kimdellavedova.com
The quality of Dellavedova’s songwriting on the record is formidable, not afraid to employ a
killer riff, her stripped back songs are punchy and have choruses that want to be sung.
Kim has been captivating audiences with this collection of songs live, performing with 60’s
tone-master guitarist/producer Scott Wilson, delivering her take on classic country/soul,
swampy blues, to songs with refreshingly cheeky, upbeat pop/rock grooves.
While the strength of Dellavedova’s songwriting on this album is outstanding, the
performances and recordings are stunning. The album has already been described as one of
Australias finest collections of folk/country music.
http://www.kimdellavedova.com
| Alt Country from Down Under |
| Kim Dellavedova |
| Music Genres: Indie / Alternative / Country / Folk / Pop / Top 40 |
Hope Cafe Records is proud to announce that Angela Evans is one of 4 international artists selected to perform at the 1st Annual Global Woman
Summit in Washington, D.C., from October 8-11, 2011.
This prestigious event will be held at the Hyatt Regency on Capitol Hill and be opened by US First Lady, Michelle Obama.
The Global Woman Summit is an educational, three-day program of exciting events, uniting and honoring leading women from around the world,
by highlighting common bonds and discussing the cultural differences that identify us, both of which strengthen our voice in business, politics,
local government and the professions - in national and international circles.
For more information on the Summit please visit: www.globalwomansummit.org
www.officialangelaevans.com
Summit in Washington, D.C., from October 8-11, 2011.
This prestigious event will be held at the Hyatt Regency on Capitol Hill and be opened by US First Lady, Michelle Obama.
The Global Woman Summit is an educational, three-day program of exciting events, uniting and honoring leading women from around the world,
by highlighting common bonds and discussing the cultural differences that identify us, both of which strengthen our voice in business, politics,
local government and the professions - in national and international circles.
For more information on the Summit please visit: www.globalwomansummit.org
www.officialangelaevans.com
| Canadian Singer Angela Evans |
| If you like: Taylor Swift, Celine Dion, Carrie Underwood, Shania Twain, Sarah McLachlan, Josh Groban Music Genres: Crossover, AC, Americana |
| THE PROBLEMS BLEND STYLES, INFLUENCES ON NEW RELEASE ‘Powder Blue Bone’ Band’s First Album Since 2001’s Self-Titled Effort. |
New York, NY — One spin of New York-based band The Problems new album, ‘Powder Blue Bone’, and the listener will hear and feel a rich and
engaging blend of roots rock, pop, country, alternative, and even a splash of punk. That's the way lead singer and songwriter Frank Caiafa likes it.
"We hate being pigeonholed into one category," Caiafa explains. "Because of this band's ability to play whatever the songs demand, the songs take
on a life of their own."
That dynamic fueled the creative process behind ‘Powder Blue Bone’, The Problems' second full-length independent release following the success of
their self-titled debut in 2001. But whereas the first album was written and recorded in a short span of time, ‘Powder Blue Bone’ was a project three
years in the making, with all sorts of twists and turns along the way. “My original concept was for more of a 'rock' record, bringing in friends and
musicians that would help in that direction,” Caiafa recalls. A serendipitous meeting with Eddy Goldberg and Kate Kilbane, however, convinced Caiafa
to reconsider his plans. “It became apparent quite quickly that those songs and that concept just weren’t in the cards,” he says, “so I wound up
scrapping or rearranging almost an album’s worth of material to then fit into a more rootsy arena.”
With Kilbane (bass) and Goldberg (banjo, harmonica, accordion, keys and vocals) joining Caiafa (guitar, vocals) and fellow founding member Barbara
Corless (drums), The Problems began writing and recording the 14 songs that would ultimately make up the ‘Powder Blue Bone’ track list. Welcoming
two new members into the fold presented a unique set of challenges, but it also allowed the band to experiment with everything from instrumentation
and production to songwriting. The Problems also were joined in the studio by vocalist Charlene McPherson (from the NYC band Spanking Charlene)
and guitarist Rich Hinman (from the NYC band Madison Square Gardeners), but as Caiafa explains, Corless helps bring it all together behind the
drums.
The release of ‘Powder Blue Bone’ has been a long time coming for The Problems, on the heels of all sorts of critical acclaim and exposure for their
first CD. Billboard magazine awarded “This Town” an Honorable Mention in the Rock/Alternative Rock category of their 2004 “World Song Contest.” In
2006, NBC's "Today" show prominently featured the song "The Lottery" in a segment, and in 2007, ‘GarageBand.com’ chose "This Town" as their
Americana "Track of the Day" while ‘The Ultimate Band List’ selected The Problems as a featured artist later that year. Additionally, Caiafa and The
Problems have dipped their toes into the film world, scoring songs in the award-winning independent, “The Dying Light,” as well as renowned artist
Lonnie Hanzon’s documentary, “Working the Magic.” Caiafa and Kilbane then collaborated on “Schoolyard Steps” for the short film, “The Truth of
Fiction” (Winner! Best Short: NY International Independent Film & Video Festival), in which Caiafa also makes a quick cameo appearance. (Don't blink
or you may miss him!)
While The Problems have enjoyed writing songs for movie soundtracks, they are most excited about ‘Powder Blue Bone’. “Everyone involved with the
album was in it for the greater cause and not just ‘doing their job,’” Caiafa says. “Whether it was scheduling their time or making financial
concessions, everyone from the studio owners, engineers and the musicians all went above and beyond. I felt a good kind of pressure to make sure
this album wound up meeting or exceeding everyone’s good intentions and efforts.” http://theproblems.com
engaging blend of roots rock, pop, country, alternative, and even a splash of punk. That's the way lead singer and songwriter Frank Caiafa likes it.
"We hate being pigeonholed into one category," Caiafa explains. "Because of this band's ability to play whatever the songs demand, the songs take
on a life of their own."
That dynamic fueled the creative process behind ‘Powder Blue Bone’, The Problems' second full-length independent release following the success of
their self-titled debut in 2001. But whereas the first album was written and recorded in a short span of time, ‘Powder Blue Bone’ was a project three
years in the making, with all sorts of twists and turns along the way. “My original concept was for more of a 'rock' record, bringing in friends and
musicians that would help in that direction,” Caiafa recalls. A serendipitous meeting with Eddy Goldberg and Kate Kilbane, however, convinced Caiafa
to reconsider his plans. “It became apparent quite quickly that those songs and that concept just weren’t in the cards,” he says, “so I wound up
scrapping or rearranging almost an album’s worth of material to then fit into a more rootsy arena.”
With Kilbane (bass) and Goldberg (banjo, harmonica, accordion, keys and vocals) joining Caiafa (guitar, vocals) and fellow founding member Barbara
Corless (drums), The Problems began writing and recording the 14 songs that would ultimately make up the ‘Powder Blue Bone’ track list. Welcoming
two new members into the fold presented a unique set of challenges, but it also allowed the band to experiment with everything from instrumentation
and production to songwriting. The Problems also were joined in the studio by vocalist Charlene McPherson (from the NYC band Spanking Charlene)
and guitarist Rich Hinman (from the NYC band Madison Square Gardeners), but as Caiafa explains, Corless helps bring it all together behind the
drums.
The release of ‘Powder Blue Bone’ has been a long time coming for The Problems, on the heels of all sorts of critical acclaim and exposure for their
first CD. Billboard magazine awarded “This Town” an Honorable Mention in the Rock/Alternative Rock category of their 2004 “World Song Contest.” In
2006, NBC's "Today" show prominently featured the song "The Lottery" in a segment, and in 2007, ‘GarageBand.com’ chose "This Town" as their
Americana "Track of the Day" while ‘The Ultimate Band List’ selected The Problems as a featured artist later that year. Additionally, Caiafa and The
Problems have dipped their toes into the film world, scoring songs in the award-winning independent, “The Dying Light,” as well as renowned artist
Lonnie Hanzon’s documentary, “Working the Magic.” Caiafa and Kilbane then collaborated on “Schoolyard Steps” for the short film, “The Truth of
Fiction” (Winner! Best Short: NY International Independent Film & Video Festival), in which Caiafa also makes a quick cameo appearance. (Don't blink
or you may miss him!)
While The Problems have enjoyed writing songs for movie soundtracks, they are most excited about ‘Powder Blue Bone’. “Everyone involved with the
album was in it for the greater cause and not just ‘doing their job,’” Caiafa says. “Whether it was scheduling their time or making financial
concessions, everyone from the studio owners, engineers and the musicians all went above and beyond. I felt a good kind of pressure to make sure
this album wound up meeting or exceeding everyone’s good intentions and efforts.” http://theproblems.com
| The Problems first release in 10 years |
| Music Genres: Indie / Alternative / Roots Rock / Pop / Country / Americana |
Are y'all ready for some Southern Americana? This album features a sonic
gumbo of southern-fried lyrics, slinky surf guitar lines, dirt road country, and
indie rock n' roll.
Ain’t nothin’ left of them tenant shacks, there’s kudzu on the railroad tracks,
Ain’t nobody out there breakin’ their backs, turnin’ that red dirt over…” This
verse from King Cotton’s song, “Red Hills and Cotton”, is not the type of
lyric one would expect to hear from a Boise, ID band; however, King Cotton
is not your average Boise, ID band. Their music, dubbed “Southern
Americana”, fuses southern-fried lyrics with slinky surf-guitar, dirt-road
country-blues, and indie rock n’ roll. This genre-busting jumble provides the
band with plenty of room to create and evolve as its songwriting continues
to mature.
Originally formed as the Billy G. Camp Band, the guys released their first
CD (Don’t Stop the Carnival) in the fall of 2006. Upon the release of “Don’t
Stop the Carnival”, the band became a local favorite by playing its sun-
drenched country-rock at numerous venues and festivals throughout Idaho
and in Oregon.
In early 2009, after two and a half years of playing live shows in support of
“Don’t Stop the Carnival”, the band took a temporary hiatus. Founding
member, Grant Camp, used the hiatus as an opportunity to write new
material and revamp King Cotton’s sound. After going through several line-
up changes in late 2009, the band has finally settled into a happy place
with a solid group of players and renewed energy.
http://www.myspace.com/thekingcottonboys
gumbo of southern-fried lyrics, slinky surf guitar lines, dirt road country, and
indie rock n' roll.
Ain’t nothin’ left of them tenant shacks, there’s kudzu on the railroad tracks,
Ain’t nobody out there breakin’ their backs, turnin’ that red dirt over…” This
verse from King Cotton’s song, “Red Hills and Cotton”, is not the type of
lyric one would expect to hear from a Boise, ID band; however, King Cotton
is not your average Boise, ID band. Their music, dubbed “Southern
Americana”, fuses southern-fried lyrics with slinky surf-guitar, dirt-road
country-blues, and indie rock n’ roll. This genre-busting jumble provides the
band with plenty of room to create and evolve as its songwriting continues
to mature.
Originally formed as the Billy G. Camp Band, the guys released their first
CD (Don’t Stop the Carnival) in the fall of 2006. Upon the release of “Don’t
Stop the Carnival”, the band became a local favorite by playing its sun-
drenched country-rock at numerous venues and festivals throughout Idaho
and in Oregon.
In early 2009, after two and a half years of playing live shows in support of
“Don’t Stop the Carnival”, the band took a temporary hiatus. Founding
member, Grant Camp, used the hiatus as an opportunity to write new
material and revamp King Cotton’s sound. After going through several line-
up changes in late 2009, the band has finally settled into a happy place
with a solid group of players and renewed energy.
http://www.myspace.com/thekingcottonboys
| Southern Americana from King Cotton |
| Music Genres: Southern / Americana / Country / Rock N' Roll / Indie |
Deborah Crooks is a seeker. The San Francisco Bay Area-born and bred singer/songwriter grew up at the nexus of two tectonic plates; close to the
city known for its history of social, musical and political upheaval. These underlying conduits of tension seem bred into those from The Bay Area,
but few more so than Crooks, who began writing songs as a young child. These days Crooks is a vibrant artist carrying on the San Francisco
tradition of powerful female singer/songwriters with literate lyrics and progressive musical attitudes; well respected within the music scene and
increasingly so outside of it.
The lid came off of Crooks’ creative self during her studies at Colorado’s The Naropa Institute. The ecumenical Buddhist-based educational
philosophy of the school inspired Crooks to take up Buddhist practice, begin studying yoga and to see her creative side as a spiritual outlet. Around
the same time Crooks experienced the Telluride Folk Festival, and was inspired to walk in the footsteps of artists such as Michelle Shocked and
Shawn Colvin. Little did Crooks know that she was embarking on a new life path. If yoga became the rock upon which Crooks life was built,
music became the lifeblood.
Having built a worldview through the lens of opportunity and tragedy, Crooks sees in her surroundings the opportunity to make the world a better
place. She has lived through earthquakes, personal loss and even the 9/11 attacks in New York City. As a songwriter, Crooks reflects the
contradictions she sees in the world in song, unveiling in her lyrics truths that are simultaneously pragmatic and mystical. The Blues/Americana
musical blend that is her canvas is simply the base from which Crooks’ songs grow. Ultimately, her music is a cultural ecotone born of her
California roots, her spiritual development, her transcendant instinct and the quest for enlightenment that is both of and divergent from the disparate
influences that bore it.
The various tensions that swirl about the life of Deborah Crooks have catalyzed a songwriting talent that is soul-wise and edgy. Combine this with
Crooks’ distinctive voice and you’ve discovered an artist capable of owning a room. Deborah Crooks doesn’t so much blow you away as she
creeps into the questing places in your soul and insinuates herself as the reflective voice that sheds wisdom on a worrisome world. It’s this quality
that first gained Crooks the attention of RockerGirl Magazine for her 2003 debut EP 5 Acres. The Roberta Donnay-produced EP landed Crooks on
the RockerGirl Discoveries compilation and gained Crooks a national audience for the first time. In 2007 Crooks followed up with an EP entitled
Turn It All Red, a stepping stone to her first full-length album Adding Water To Ashes, released in 2008. 2010 has seen the release of two EPs
from the prolific singer/songwriter. It’s All Up To You was made possible by a Bay Bridged Grant and shows Crooks’ social conscience in full
force, while Other Halves displays some of Crooks’ most focused songwriting to date alongside a powerful cover of Neil Young’s “Heart Of Gold”.
Her work is fueled by periodic returns to India to further her yoga and vocal studies and write. Considering that Crooks and her band have recently
begun to find the sort of magic that is born of chemistry, talent, hard work and time spent together, such personal rebirth could be the charge that
leads Deborah Crooks onto the national stage to stay. Crooks spent the winter of 2010/2011 in Southern India, another leg on her socio-artistic
journey. From there the sky is, quite literally the limit. Deborah Crooks walks the path of musical enlightenment. Come along!
deborahcrooks.com
city known for its history of social, musical and political upheaval. These underlying conduits of tension seem bred into those from The Bay Area,
but few more so than Crooks, who began writing songs as a young child. These days Crooks is a vibrant artist carrying on the San Francisco
tradition of powerful female singer/songwriters with literate lyrics and progressive musical attitudes; well respected within the music scene and
increasingly so outside of it.
The lid came off of Crooks’ creative self during her studies at Colorado’s The Naropa Institute. The ecumenical Buddhist-based educational
philosophy of the school inspired Crooks to take up Buddhist practice, begin studying yoga and to see her creative side as a spiritual outlet. Around
the same time Crooks experienced the Telluride Folk Festival, and was inspired to walk in the footsteps of artists such as Michelle Shocked and
Shawn Colvin. Little did Crooks know that she was embarking on a new life path. If yoga became the rock upon which Crooks life was built,
music became the lifeblood.
Having built a worldview through the lens of opportunity and tragedy, Crooks sees in her surroundings the opportunity to make the world a better
place. She has lived through earthquakes, personal loss and even the 9/11 attacks in New York City. As a songwriter, Crooks reflects the
contradictions she sees in the world in song, unveiling in her lyrics truths that are simultaneously pragmatic and mystical. The Blues/Americana
musical blend that is her canvas is simply the base from which Crooks’ songs grow. Ultimately, her music is a cultural ecotone born of her
California roots, her spiritual development, her transcendant instinct and the quest for enlightenment that is both of and divergent from the disparate
influences that bore it.
The various tensions that swirl about the life of Deborah Crooks have catalyzed a songwriting talent that is soul-wise and edgy. Combine this with
Crooks’ distinctive voice and you’ve discovered an artist capable of owning a room. Deborah Crooks doesn’t so much blow you away as she
creeps into the questing places in your soul and insinuates herself as the reflective voice that sheds wisdom on a worrisome world. It’s this quality
that first gained Crooks the attention of RockerGirl Magazine for her 2003 debut EP 5 Acres. The Roberta Donnay-produced EP landed Crooks on
the RockerGirl Discoveries compilation and gained Crooks a national audience for the first time. In 2007 Crooks followed up with an EP entitled
Turn It All Red, a stepping stone to her first full-length album Adding Water To Ashes, released in 2008. 2010 has seen the release of two EPs
from the prolific singer/songwriter. It’s All Up To You was made possible by a Bay Bridged Grant and shows Crooks’ social conscience in full
force, while Other Halves displays some of Crooks’ most focused songwriting to date alongside a powerful cover of Neil Young’s “Heart Of Gold”.
Her work is fueled by periodic returns to India to further her yoga and vocal studies and write. Considering that Crooks and her band have recently
begun to find the sort of magic that is born of chemistry, talent, hard work and time spent together, such personal rebirth could be the charge that
leads Deborah Crooks onto the national stage to stay. Crooks spent the winter of 2010/2011 in Southern India, another leg on her socio-artistic
journey. From there the sky is, quite literally the limit. Deborah Crooks walks the path of musical enlightenment. Come along!
deborahcrooks.com
| Deborah Crooks draws on folk, rock, Americana and the blues. |
| Music Genres: Americana, Alternative Folk, Blues, Singer Songwriter If You Like: Lucinda Williams, Natalie Merchant, Sheryl Crow, Cowboy Junkies, Jesse Sykes |
| Tricked Out Country |
| Genre: Country, Pop, Jazz, Blues Comparison: The Tractors, Stevie Ray Vaughan, Chris Botti, Little Feet, America |
Despite the roots all three share as rich tributaries of great American music, there have been few instances in which country, jazz, and
pop rock have successfully come together within one band. It just seems like an impossible fit: corralling Stetson-hatted cowboys, cool-
blowing jazzmen, and funky rock players into a single cohesive project, one that seamlessly blends these very distinct styles. It seems
impossible, that is, until you’ve heard Tricked Out Country.
The creation of drummer, producer, and backing vocalist Anthony Liccese and lead singer and guitarist Neil Scott Johnson—and
featuring renowned jazz trumpeter Kenny Scharf—Tricked Out Country boasts one of the most refreshingly new sounds on today’s music
scene. With its combination of Neil’s modern country sensibility and Anthony’s contemporary pop production, all flavored with Kenny’s
tasteful embellishments, Tricked Out Country has created an album sure to lasso hip downtowners and sophisticated uptowners, as well
as honky-tonk hell-raisers. And the best place to make that boot- scootin’, booty-shakin’ connection is via the group’s self-titled debut.
The release is home to nine startlingly original tracks that include the irresistible, playful two-
stepper “Chicky Chow Chow,” the brew-hoisting party anthem “It’s the Beer,” the ’80s- esque ballad “Circle of Dreams,” and even a
reggae-tinged cut, “You’re Not Invited to My Party,” which features a guest appearance by Jamaican rapper O.S.
“Growing up in the Bronx I was exposed to all kinds of music, but not really a lot of country until I met Neil,” says Anthony, aka the
HarmonyGuy, known around town for his masterful backup harmonies and, like Neil, a veteran of the New York club scene.
“I’d written some country songs for my other group, the Neil Scott Johnson Band [the New York Metropolitan Country Music Association’s
Band of the Year for six consecutive years],” says Neil, who was raised Upstate and whose classic rock background includes work with
Aztec Two-Step’s Neal Schulman and hit country songwriter David Kent. “Tricked Out Country started in 2010, when Anthony got the idea
to produce the songs using non-traditional instrumentation—country and pop rock, but with a jazz twist.”
“I loved my parents’ records by Herb Alpert and the Tijuana Brass when I was a kid, and I’ve always loved including brass, especially horn,
whenever possible in my musical efforts—Tricked Out Country is emblematic of this,” explains Anthony. “I met Kenny Scharf [a featured
soloist with Ray Charles 12 years and now an in-demand artist in his own right] on a gig a few years back, and hired him right away. As
soon as we heard him play on our tracks we knew we had something really different.”
In addition to the music itself, Tricked Out Country’s initial release includes something else that’s really different for a debut album: a
bonus DVD with a feature on the band’s concept and a promotional video, directed by Anthony, for “Julie,” the record’s high- twangin’,
down-home-shufflin’ first single. As such an astonishingly novel project, it’s no surprise the set has already won rabid praise from several
key music publications.
“[The group has] created a brand of music that is totally new and unique,” raves Today’s Country. “Tricked Out Country has achieved a
goal that so many swing and miss at.” Music that cuts across boundaries and brings people together is something we can all use more of
these days. Especially when it’s the kind of irresistibly uncommon, well- crafted—and downright fun—music that comes only from one
place: Tricked Out Country. One listen and you’ll be hooked.
>>>For more info: www.trickedoutcountry.com
pop rock have successfully come together within one band. It just seems like an impossible fit: corralling Stetson-hatted cowboys, cool-
blowing jazzmen, and funky rock players into a single cohesive project, one that seamlessly blends these very distinct styles. It seems
impossible, that is, until you’ve heard Tricked Out Country.
The creation of drummer, producer, and backing vocalist Anthony Liccese and lead singer and guitarist Neil Scott Johnson—and
featuring renowned jazz trumpeter Kenny Scharf—Tricked Out Country boasts one of the most refreshingly new sounds on today’s music
scene. With its combination of Neil’s modern country sensibility and Anthony’s contemporary pop production, all flavored with Kenny’s
tasteful embellishments, Tricked Out Country has created an album sure to lasso hip downtowners and sophisticated uptowners, as well
as honky-tonk hell-raisers. And the best place to make that boot- scootin’, booty-shakin’ connection is via the group’s self-titled debut.
The release is home to nine startlingly original tracks that include the irresistible, playful two-
stepper “Chicky Chow Chow,” the brew-hoisting party anthem “It’s the Beer,” the ’80s- esque ballad “Circle of Dreams,” and even a
reggae-tinged cut, “You’re Not Invited to My Party,” which features a guest appearance by Jamaican rapper O.S.
“Growing up in the Bronx I was exposed to all kinds of music, but not really a lot of country until I met Neil,” says Anthony, aka the
HarmonyGuy, known around town for his masterful backup harmonies and, like Neil, a veteran of the New York club scene.
“I’d written some country songs for my other group, the Neil Scott Johnson Band [the New York Metropolitan Country Music Association’s
Band of the Year for six consecutive years],” says Neil, who was raised Upstate and whose classic rock background includes work with
Aztec Two-Step’s Neal Schulman and hit country songwriter David Kent. “Tricked Out Country started in 2010, when Anthony got the idea
to produce the songs using non-traditional instrumentation—country and pop rock, but with a jazz twist.”
“I loved my parents’ records by Herb Alpert and the Tijuana Brass when I was a kid, and I’ve always loved including brass, especially horn,
whenever possible in my musical efforts—Tricked Out Country is emblematic of this,” explains Anthony. “I met Kenny Scharf [a featured
soloist with Ray Charles 12 years and now an in-demand artist in his own right] on a gig a few years back, and hired him right away. As
soon as we heard him play on our tracks we knew we had something really different.”
In addition to the music itself, Tricked Out Country’s initial release includes something else that’s really different for a debut album: a
bonus DVD with a feature on the band’s concept and a promotional video, directed by Anthony, for “Julie,” the record’s high- twangin’,
down-home-shufflin’ first single. As such an astonishingly novel project, it’s no surprise the set has already won rabid praise from several
key music publications.
“[The group has] created a brand of music that is totally new and unique,” raves Today’s Country. “Tricked Out Country has achieved a
goal that so many swing and miss at.” Music that cuts across boundaries and brings people together is something we can all use more of
these days. Especially when it’s the kind of irresistibly uncommon, well- crafted—and downright fun—music that comes only from one
place: Tricked Out Country. One listen and you’ll be hooked.
>>>For more info: www.trickedoutcountry.com
| Renee Wahl |
| Music Genres: Country, Americana, AltCountry, Rockabilly Comparison: Maria McKee, Neko Case, Loretta Lynn, Chris Isaak, Jenny Lewis |
Life is a process.
This is something Renée Wahl seems to have realized instinctively from an early age. As an alternative country/Americana/Rockabilly
artist, Wahl has followed a non-traditional path to a career in music, and yet no one who has known her over the years would ever
question her destination. Wahl enrolled in the musical theater program at Staten Island’s Wagner College only to find college life
mundane. Finding her way to Philadelphia, Wahl became a regular on the local Indie music scene. After a stint in the US Air Force, where
Wahl served first as a flight specialist and later as a physicist and educator, she returned to music. Eventually making her way to
Nashville, Wahl’s affable personal style helped her network with some of the brightest lights on Music Row. This combined with her natural
talents as a singer and a songwriter have Wahl poised on the verge of widespread name recognition.
Renée Wahl writes intelligent, literate songs from the heart. Working both on her own and with Roger Prescott (Trainwreck Ghost, The
Texacala Jones Band), Wahl displays a talent for creating and inhabiting characters and moments in the fashion of Lyle Lovett and
Townes Van Zandt. Combine this with a voice that finds the soft parts of your soul and insinuates itself there and it’s easy to understand
why Wahl has been compared to Maria McKee (Lone Justice). Wahl acknowledges being a bit of a tomboy, loving to take things apart to
see how they work. She invariably practices the same art in her songwriting, dissecting people, places and moments and recreating them
in song in ways that bring new light and understanding.
Wahl was inspired early on by such asymmetric songwriters as Neko Case and Chris Isaak. Writing from deep emotional waters, Wahl’s
songs bespeak a stark intellect. Wahl paints portraits with words, bringing to life her own experiences and those of people she’s known or
observed. Wahl’s eye and ear perceive with the refined understanding of an artist, and her musical media are many. Wahl is equally
comfortable writing in the realms of rock, country, Americana, Motown and even 1950’s pop, and her songs are infectious. It’s clear that
Renée Wahl enjoys making music, and whether on stage or in the studio, it’s impossible not to pick up on that energy and enthusiasm.
Wahl might be one of the most approachable people in show business, comporting herself with a mix of quiet confidence and humility that
speaks of character and a thoughtfulness that’s notable in a self-absorbed, pop-obsessed musical culture. Wahl aims to entertain while
speaking the truth. Listening to her debut album Cumberland Moonshine, listeners will find themselves drawn into finely detailed story
songs with a universal air. Songs of heartbreak, redemption and love lost and found dot the landscape of Cumberland Moonshine, and
Renée Wahl voices each as if nothing else matters in the world.
Cumberland Moonshine establishes Wahl as a serious player in Nashville. The album’s tangible musical moments make it easy for
listeners to connect with the artist. And while Wahl may be coy at times about the inspiration for her songs, she shares heartache and
happiness in her music as easily as an old friend sitting down over a coffee or a beer. It doesn’t hurt that Wahl is backed by one of the
best supporting casts in Nashville. Cumberland Moonshine features performances from Bryan Owings on drums (Emmylou Harris, Patty
Griffin, Buddy And Julie Miller); guitarist Kenny Vaughan (Marty Stuart); Pat Bergerson (Shelby Lynne, Wynonna Judd, Lyle Lovett, Suzy
Boggus) on guitar and harmonica; Fats Kaplin (Mark Knopfler, Garth Brooks, Waylon Jennings); Charles Treadway on organ (The
Dynamites); GRAMMY winner Charlie Chadwick and Roger Prescott.
Renée Wahl is the girl next door. An extremely intelligent, talented and beautiful girl next door with a voice that melts hearts like butter and
a personality that lights up the largest or most intimate of venues. Wahl writes with the insightful eye of a raconteur, creating moments in
music that touch your heart, with a mischievous energy that is unforgettable. If it’s true that the cream always rises to the top, then a day
will come when Renée Wahl sits atop the country music world. While many are cast by publicists, press and fans as rising stars, there’s no
doubt that Renee Wahl is the real deal.
reneewahl.com
This is something Renée Wahl seems to have realized instinctively from an early age. As an alternative country/Americana/Rockabilly
artist, Wahl has followed a non-traditional path to a career in music, and yet no one who has known her over the years would ever
question her destination. Wahl enrolled in the musical theater program at Staten Island’s Wagner College only to find college life
mundane. Finding her way to Philadelphia, Wahl became a regular on the local Indie music scene. After a stint in the US Air Force, where
Wahl served first as a flight specialist and later as a physicist and educator, she returned to music. Eventually making her way to
Nashville, Wahl’s affable personal style helped her network with some of the brightest lights on Music Row. This combined with her natural
talents as a singer and a songwriter have Wahl poised on the verge of widespread name recognition.
Renée Wahl writes intelligent, literate songs from the heart. Working both on her own and with Roger Prescott (Trainwreck Ghost, The
Texacala Jones Band), Wahl displays a talent for creating and inhabiting characters and moments in the fashion of Lyle Lovett and
Townes Van Zandt. Combine this with a voice that finds the soft parts of your soul and insinuates itself there and it’s easy to understand
why Wahl has been compared to Maria McKee (Lone Justice). Wahl acknowledges being a bit of a tomboy, loving to take things apart to
see how they work. She invariably practices the same art in her songwriting, dissecting people, places and moments and recreating them
in song in ways that bring new light and understanding.
Wahl was inspired early on by such asymmetric songwriters as Neko Case and Chris Isaak. Writing from deep emotional waters, Wahl’s
songs bespeak a stark intellect. Wahl paints portraits with words, bringing to life her own experiences and those of people she’s known or
observed. Wahl’s eye and ear perceive with the refined understanding of an artist, and her musical media are many. Wahl is equally
comfortable writing in the realms of rock, country, Americana, Motown and even 1950’s pop, and her songs are infectious. It’s clear that
Renée Wahl enjoys making music, and whether on stage or in the studio, it’s impossible not to pick up on that energy and enthusiasm.
Wahl might be one of the most approachable people in show business, comporting herself with a mix of quiet confidence and humility that
speaks of character and a thoughtfulness that’s notable in a self-absorbed, pop-obsessed musical culture. Wahl aims to entertain while
speaking the truth. Listening to her debut album Cumberland Moonshine, listeners will find themselves drawn into finely detailed story
songs with a universal air. Songs of heartbreak, redemption and love lost and found dot the landscape of Cumberland Moonshine, and
Renée Wahl voices each as if nothing else matters in the world.
Cumberland Moonshine establishes Wahl as a serious player in Nashville. The album’s tangible musical moments make it easy for
listeners to connect with the artist. And while Wahl may be coy at times about the inspiration for her songs, she shares heartache and
happiness in her music as easily as an old friend sitting down over a coffee or a beer. It doesn’t hurt that Wahl is backed by one of the
best supporting casts in Nashville. Cumberland Moonshine features performances from Bryan Owings on drums (Emmylou Harris, Patty
Griffin, Buddy And Julie Miller); guitarist Kenny Vaughan (Marty Stuart); Pat Bergerson (Shelby Lynne, Wynonna Judd, Lyle Lovett, Suzy
Boggus) on guitar and harmonica; Fats Kaplin (Mark Knopfler, Garth Brooks, Waylon Jennings); Charles Treadway on organ (The
Dynamites); GRAMMY winner Charlie Chadwick and Roger Prescott.
Renée Wahl is the girl next door. An extremely intelligent, talented and beautiful girl next door with a voice that melts hearts like butter and
a personality that lights up the largest or most intimate of venues. Wahl writes with the insightful eye of a raconteur, creating moments in
music that touch your heart, with a mischievous energy that is unforgettable. If it’s true that the cream always rises to the top, then a day
will come when Renée Wahl sits atop the country music world. While many are cast by publicists, press and fans as rising stars, there’s no
doubt that Renee Wahl is the real deal.
reneewahl.com
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