Boston’s folk loss is Nashville’s gain.
‘Deep Feeler’ is Liv Greene’s sophomore album. Still very much a folk artist, a move to Nashville has added some rhinestone sparkle to many of the album’s songs of self-acceptance. The album’s title track and accompanying video were highlighted by AUK back in July. Andrew Frolish succinctly summed up the mood: “As Greene skates through the streets, the sense of freedom matches that feeling when you accept yourself for who you are and begin to live life to the full”. As an opener it showcases the many layers found within the album’s tracks. Greene’s lyrics are deeply personal, relationship-centred, sometimes melancholic but with little hint of self-pity. The music and the melodies are infectious and life-affirming. The accomplished rhythm section assembled in the studio also produce some real sparkle.
‘Made it Mine Too’ is a beautiful song, enhanced with a steel-playing cameo, and one of many contributions from Sarah Jarosz on mandolin and harmonies. ‘Wild Geese’ has some fine bass playing from Hazel Royer while ‘Flowers’ is bittersweet, catchy, cleverly reflecting on being single, spending therapy and when to park a failed relationship. “I am buying myself a ticket for the train/ Haven’t left this town since you went away/ I’m still so pissed that you got to leave, got a change of scenery/ So I am buying myself a ticket for the train”. The reality: “When the truth is I can’t afford to miss you anymore”. Drummer Dominic Billet gives that ticket for the train a subtle beat. The rhythm section’s back in full for the country-leaning “I’ve Got My Work To Do” with some added Telecaster from Jack Schneider just to make sure. ‘You Were Never Mine’ was the first song Greene wrote having moved to Tennessee. The birthplace of country music seems to have seeped into Greene’s songwriting almost instantly.
Her beautiful voice and guitar playing anchor this album. Levels of accompaniment vary from track to track but Greene and guitar are definitely all that’s required for the stunning album closer ‘I Can Be Grateful’.
The album was live-tracked to tape at Woodland Sound Studios, Nashville and produced in collaboration with Matt Andrew. There is great warmth to this production, giving it a live, village hall feel to the album, although on some tracks there’s a bit of speaker distortion when the volume gets turned up.
Imagine sunlight coming through the windows at this studio during the recording of this album. Among the incoming dust particles picked out, there are those surely traceable to Greenwich Village, Miles of Music Camp, Club Passim, a Brandi Carlisle concert; now all mixed in with the Tennessee air. Magic dust.
