Camille Trust is an up-and-coming, Tampa, FL-born, New York-based soul/pop artist, who’s influenced by the likes of Janis Joplin, Lauryn Hill and Etta James — although with her energetic and dynamic stage presence and raw, unvarnished honesty, her work seems much more indebted to the likes of Mary J. Blige. Now, as you may recall, I caught the Tampa-born, New York-based soul/pop artist performing an opening set Baby’s All Right that featured sultry covers of Bonnie Raitt’s “Something to Talk About” and Stevie Wonder‘s “Signed, Sealed and Delivered,” and a collection of singles that she’s released over the past few years, as well as material off her recently released EP — including her latest single, “Lose You,” which pairs Trust’s effortlessly soulful vocals with a modern production consisting of stuttering beats, brief horn blasts, twinkling keys and an explosive, radio friendly and rousingly anthemic hook; but underneath the swaggering and thumping production, is a plaintive and urgent plea to a lover, who seems ready to bolt.
Comprised of Liza Colby (vocals), Tom McCaffrey (guitar), C.P. Roth (drums) and Alec Morton (bass), The Liza Colby Sound have developed a reputation across town and elsewhere for a swaggering and soulful take on blues rock — and for their frontwoman’s stage presence, which some have described as Tina Turner prowling the stage like Iggy Pop. “Cryin,'” the latest single off the band’s soon-to-be released EP Draw will further cement the band’s growing reputation for sultry, whiskey soaked, power chord-based rock as the band pairs Colby’s soulful, pop belter meets Janis Joplin vocals with anthemic hooks and a propulsive backbeat; but as Colby explains in press notes, the song is rooted around a duality between muscular insistence and vulnerability, “‘Cryin” is the devastation of heartbreak. It’s an explosion of emotions. The manic, mixed with moments of complete composure. It’s thinking you have a winning hand and realizing it was shit.” And interestingly enough, as a result, the song carefully walks a tightrope of bitter acceptance and steely resolve, and complete emotional breakdown.
Directed, shot and edited by David J. Barron, the recently released video for “Cryin'” features frtonwman Liza Colby in a swimsuit/body suit and heels, strutting and vamping like “Single Ladies”-era Beyonce while singing the bluesy song with a powerful and overwhelming earnestness and vulnerability.
Sarah Beatty is a Hamilton, ON-based singer/songwriter, who cites a rather diverse array of influences including Hank WIlliams III, Billie Holiday, Janis Joplin, Johnny Cash, Sarah Harmer, Sue Foley, The Beastie Boys, G. Love and Special Sauce, Chopin, Led Zeppelin, Sinead O’Connor, Ani DiFranco, Loudon Wainwright III, The Grateful Dead, The Flaming Lips, Handel, Tony Rice and Doc Watson, among a lengthy list. Her forthcoming sophomore full-length effort Bandit Queen is slated for release on February 3, and the album is a connect album based around the life of a renowned 19th century bank robber and horse thief Belle Starr. As Beatty explains in press notes: ” “When I read about Belle Starr, the fabled bank heist mastermind turned horse thief, she grabbed my attention immediately. And from that original inspiration, I began imagining and contemplating all kinds of stories that rarely get told about women, even in the 21st century. Each of the songs on this record tells a different story, and as a collection they become the spine of a whole other adventure.”
While Beatty’s vocals remind me a bit of a more soulful Joni Mitchell, the song possesses a quiet, self-assured swagger, while portraying its subject with a profound understanding and empathy; in some way, the Bandit Queen at the core of the song is seen as a post-modern hero. As Beatty explained about the song “There are all kinds of mythologies telling people who they are and who they aren’t. With this song, I wanted to invite the dark parts into the storyline and inspire listeners to be their whole, real, bodacious, outlawed selves” — or perhaps to be embrace their inner “Nasty Woman.” And in many ways, it’s a subtly punk leaning version of contemporary folk. In this incredibly fraught and uncertain political environment such a message seems particular fitting.
Featuring sibling and founding duo Christine Fink (vocals) and renowned singer/songwriter Orenda Fink, arguably be known for her stint in Azure Ray and for a solo career, along with Greg Elasser, Josh Soto and Eric Ohlsson, the Omaha, NE-based punk/soul/funk collective High Up can trace its origins to when its frontwoman Christine Fink would perform at local karaoke bars across Muscle Shoals, AL. As the story goes the first time that Orenda Fink caught her sister sing at nearby Sheffield, AL’s Old Town Tavern, Orenda was blown away by how Christine brought the entire house down. Several years later, Christine moved to Omaha to be closer to her sister Orenda — and Orenda began to see that no matter where her sister performed, the crowd turned into putty in her hands — with people lining up to buy her drinks, shake her hand or make requests of their favorite soul songs.
However, after a while Christine began to feel depressed and aimless as her life became an increasingly dreary shuffle between uninspiring minimum wage jobs and the thrill of her weekend performances wore off. One night, the siblings had a conversation about the future– particularly Christine’s future — and Orenda insisted that her sister should try to pursue a career in music, as performing for people was what made her the happiest.
After several discussions the Fink Sisters decided to start their own band with the premise that sonically speaking the project would draw from a variety of influences including Janis Joplin, Sam Cooke and the Muscle Shoals sound, Screamin’ Jay Hawkins, The Velvet Underground — and doing so in a way that would showcase Christine’s soulful pop belter vocals and Orenda’s carefully crafted songwriting. The Finks then recruited Elasser, Soto and Ohlsson to further flesh out the project’s sound. And to my ears at least, the band’s sound as you’ll hear on their latest single “Two Weeks” off their soon-to-be released self-titled EP manages to sound like Iggy Pop’s “Lust for Life” but filtered through furious Muscle Shoals-meets James Brown funk, and a bit of ska for good measure. Adding to the fury behind the song, the song’s narrator speaks of a specific situation that should feel familiar to anyone, who has slaved at a miserable job — the ecstatic joy of telling your employer “Fuck you! I quit!”
And although the narrator admits that being broke and not knowing when you’ll see money sucks, being reminded of your dignity and self respect is a powerful thing — and that going out there without a safety net and risking everything to achieve your dreams is an admirable thing. Interestingly, the recently released music video follows a protagonist, who quits a miserable job to pursue a music career but in her own way, following her own vision.
Influenced by Fleetwood Mac, Carole King, Janis Joplin, The Pretenders, Crosby Stills and Nash, Carly Simon, The Mamas and the Papas and First Aid Kit, Georgie is a 21 year-old, up-and-coming, Nottingham, UK-based singer/songwriter, who caught the attention of the folks at Spacebomb Records — the label home of Natalie Prass and Julien Baker — for a vocal style that sounds straight out of the mid 1960s and for a lyrical bent that belies her years. Her debut single “Company of Thieves” pairs her husky and soulful vocals with a wah-wah pedaled guitar, a strutting horn arrangement, a sinuous bass line, a steady backbeat and an infectious hook in a carefully crafted song that will remind most listeners of Amy Winehouse, Nancy Sinatra and others.
Born and raised in Tampa, FL and currently located here in NYC, Camille Trzcinski, who performs under the moniker Camille TRUST is a singer/songwriter, whose sound according to her website is deeply influenced by Motown and […]
Born and raised in Sandnessjøen,Norway, just south of the Arctic Circle singer/songwriter/composer/actress Rebekka Karijord relocated to Sweden a decade ago, where has she proven to be remarkably prolific, as she composed music for over 30 films, […]
Released last year through Wax Poetics Records, New York-based singer/songwriter Kendra Morris’ debut effort, Banshee was critically well-received with Morris being compared favorably to the likes of vocalists such as Adele, Joss Stone, Amy Winehouse and interestingly enough, the legendary Janis Joplin. Mockingbird, her sophomore […]