Americana Highways Talks "Rhythm Of The Rain"

Song Premiere: Amelia White’s “Said It Like A King” From Upcoming Album “Rhythm Of The Rain”

Listen & Watch Song Premiere

December 7, 2018 Melissa Clarke

americana highways post.jpeg

Americana Highways brings you this song premiere of “Said It Like A King,” a teaser from Amelia White’s album Rhythm of the Rain, due to be released in January.  The album was produced by Dave Coleman; the song features White and Coleman on guitars, Sergio Webb on guitars and banjo, Megan Jane on drums.  The album has both bassists Dave Jacques and Parker Hawkin; a duet with Will Kimbrough and an appearance by the Anti Bigotry choir, among other guests.

If you are a “lyrics-first” person this is going to resonate with you deeply, and if you like prominent rhythms, this shuffle beat will carry you all the way along.  “Said It Like a King” moves from school yard bullies, to bullies from the pulpit; winding up with a warning that little eyes and ears are watching and growing up to repeat the cycle. The message here is a sober one; seemingly innocent displays of violence in play may affect little boys in ways that are far from innocent. “Just child’s words, you say it don’t mean a thing,” carry a sober reminder of the way a child’s loss of innocence can translate into entitled supremacy later in life.

This song was written years ago with one of my favorite artists,  Lori McKenna. It started as a tune about bullies on a school bus, and grew in content to explore the religious and political varieties and tie them all back in to the child at the end,  thanks to a twist provided by third writer, Lorne Entress.  With films like Boy Erased out in theaters, and the political environment we live in it seems like such a timely song, so I re-recorded it. It’s at the heart of  the 12 songs on Rhythm of the Rain, and I love its very specific and raw feel.  — Amelia White

It’s not going out on a limb to say that what Amelia White is creating is atypical to what women in Americana are doing in general these days.  This is much darker and grittier, which renders it a welcome relief.  This is a wonderful song as a harbinger of the album to come; keep an eye out for this one here: http://www.ameliawhite.com/ while you listen for yourself, here:

Amelia White
"AMELIA RAINS SUPREME"- Maximum Volume Music

BY ANDY THORLEY -

NOVEMBER 30, 2018

If there were an East Nashville Music Hall of Fame, Amelia White would already be in it. The now-famous scene was in its formative days when White arrived from Boston in the early 2000s and became a fixture at the Family Wash. She’s been a leading light in America’s most musical zip code ever since, even as she’s developed a reputation in the rest of the U.S. and Europe as a first-rate songwriter. She helped define and refine the core folk-rock sound of Americana, yet her band’s energetic pulse never outshines her carefully wrought lyrics. She’s a poet who’s been compared to more famous songwriters for years; now, it would be more appropriate to use her as a benchmark.

White’s seventh album, Rhythm of the Rain, due out January 25, 2019, is a volume of ruminations and short stories written largely during a tour in the U.K. in 2016. There, at a distance and with a sense of helplessness, she watched America’s political system and her values attacked from within. Then the project was recorded by East Nashville sonic maestro Dave Coleman (The Coal Men) in an emotionally wrenching four days between White losing her mother and marrying her partner. Roots music is a journal of love and loss, and Rhythm of the Rain couldn’t be a more potent dispatch.

“As a songwriter, I feel obliged to tell the stories that are coming through in the air to me in my world whether it’s personal or political or both. That can be hard,” White says. “The antenna is always on. Man, you’ve got to feel a lot. It’s a heavy load sometimes.”

She’s shared shows with the likes of Brandy Clark, Asleep at the Wheel, John Prine, and Justin Townes Earle, as well as performed for a handful of folks in unknown cafes. “There was a point in my career where I realized you have to go out and knock on doors with your songs,” she allows. “They need to be sung for people and that means a relentless tour schedule. If I were a trucker I’d be rich.”

The 12-song collection opens with a sunny snap of drums and a slurry steel-like guitar figure, in keeping with the electric punch that’s always been a key part of White’s sound. Then “Little Cloud Over Little Rock” zooms in on a scene in a bar in Middle America, where White lets telling details evoke a situation full of mixed emotions, of resignation and perseverance. White has always gleaned song inspiration through talking with people in the cities she visits. “I find that if I truly open up on stage, people come and want to tell me about the skeletons in their closet.”

The artist balances bitterness and grace in the farewell song “Mother of Mine.” She says that after her mother’s passing, “I wrote a letter to her — a really honest letter, and of course a song came about.”

“She wanted me to be ‘a classic little girl’ and that’s not what she got. I could never say these words to her face, and now she’ll hate me from the grave,” White adds with a wistful laugh.

In a timely tune, White gives a sexist music industry the back of her hand in “Free Advice,” a song that came about after repeated DJs asked her about her age, “Would you ask Bob Dylan that?” In “Said It Like a King” (written with Lori McKenna) personal, religious and political bullies are exposed. “True or Not” (written post Women’s March on Washington) transmutes the despair of the worlds unfairness into a “peaceful battle cry.”




Though she lives in one of those famous blue islands in a red state, local evangelical bigotry was enough to prompt “How It Feels” as a celebration and affirmation of her marriage. She notes, “It’s tough growing up gay in the South — in the past year it feels like they are trying to shove us back in the closet.”

The title track has its own distinct restraint, musically and emotionally. “Rhythm of the Rain” is most distinctly set in London and most intimately tied to the slipping away feeling of the November 2016 shock. Instead of defiance, here, she tries self-comfort, curling up, breathing and tuning out a storm of hate with the white noise of a downpour.

Amelia White doesn’t chase opportunities. She chases songs and gives her entire focus to the listeners and fans who show up, year after year, to commune with her music.

Her songs and co-writes have been recorded by some of the great names of Americana music: Anne McCue, Julie Christensen, Wild Ponies, and Tony Furtado.

“When faced with whether to go out in Nashville and schmooze, or take a walk and start a song in my head I’d always choose the SONG,”she says. “And sometimes I feel that I pay for that.”

Yet we listeners are the ones getting something of value.

To see the article click here.

Amelia White
Video Premiere: Amelia White's Reassuring 'Rhythm of the Rain'

BY BOBBIE JEAN SAWYER at WIDE OPEN COUNTRY

East Nashville singer-songwriter Amelia White has been a staple of Music City's independent country scene since the early 2000s. A sought-after collaborator, White has helped shape Nashville's Americana scene and shared bills with John Prine, Brandy Clark, and more.

Now White is gearing up to release her seventh album, Rhythm of the Rain (out on Jan. 25), a 12-song collection that boldly shares stories of turmoil in America, defiance, grit, forgiveness and perseverance.


Today, Wide Open Country is premiering the video for the album's folk-rock title track, which finds much-needed comfort in what's left to trust in.

The video was shot in Nashville and the U.K. -- a fitting location considering White was inspired to write the tune by watching the 2016 U.S. election from overseas.

"I wrote this song while touring in UK and watching the bitter battle that ramped up to the Nov. 2016 U.S. election through the eyes of the BBC," White says. "'Rhythm of the Rain' is about carving out your place of peace in this mad world. I love the moment in the video where Shakespeare gazes at us, almost smirking at this mess we've gotten ourselves into."

To see the full article click here.

Amelia White
Americana UK: "Rhythm of the Rain" one of the best albums of 2017

 Amelia White “Rhythm Of The Rain” (White Wolf) Outstanding songs accompany a fantastically soulful, wearily hopeful East Nashville voice. Take for instance Sugar Baby, a modern prison ballad – it oozes Deep South temptation and wrongdoing. Intelligent rhythms and arrangements drive all the songs along – no two sound too similar or dissimilar. Title track Rhythm Of The Rain has a fantastic minor to major turnaround for the chorus. Don’t take my word for it, listen below.

 

Mark Nenadic
December 21, 2017

read the full article here.
 

Amelia White
"Rhythm of the Rain" is Nashville East Americana says Nashville Scene

Nashville singer-songwriter Amelia White operates in social-realist mode throughout her new full-length Rhythm of the Rain, and you may find its themes relevant in this hour of our national distress. A soulful vocalist who sings like a less self-indulgent Lucinda Williams, White makes music that could serve as the great mean of, well, Nashville East Americana. She pours her lyrics into a pot of condensed soup that could use a little spicing up for the table, but her light touch saves the day. Released this fall in Europe and set to drop domestically next year, Rhythm of the Rain peaks with “Said It Like a King,” a critique of misguided American self-confidence: “Preacher’s face is red / His fists both swing / He says you will fear temptation / And he said it like a king.” Rarely have the standard usages of Americana-ized songwriting been put to more pungent use — pass the soup.

 

Edd Hurt
Nashville Scene "Critic's Pick"
December 2017

read the full article here.

Amelia White
Paul McGee on Rhythm Of The Rain

Lonesome Highway

Amelia White Rhythm Of The Rain  Self Release
 

Amelia White recorded this record in the four days between her Mother’s funeral and her own wedding. Her last release (Home Sweet Hotel)brought great praise and I read somewhere that she “illuminates the ordinary” - a fitting description of her creative muse. This is a really strong release with plenty of dramatic playing from the studio musicians that include Sergio Webb (guitars, banjo), Dave Coleman (guitars, organ, vocals), Dave Jacques (bass), Megan Jane (drums/percussion), Eamon McLoughlin (violin), as the core players supporting Amelia, who contributes guitar and lead vocals.

Comparisons with Lucinda Williams are somewhat inevitable given the tired, road-travelled, texture in the vocal delivery but there is also the sweet refrain of Eliza Gilkyson and if you wrap it all up in a pretty bow – guess what; you get the unique talent of Amelia White.

There are co-writes with Lori McKenna, The Worry Dolls, Annie McCue and Ben Glover, among others, and the quality never dips for a moment. There is compassion, understanding of living life on margins, trying to make sense of daily rush to feel relevant; words tumble down like “his friends are coming to drink their unemployment down on Friday night, American small town” (Little Cloud Over Little Rock); “the poor get poor and the rich get richer; war is stirring back home, the rain taps on my window” (Rhythm Of The Rain).

The final track, Let The Wind Blow, sums up the feeling of a love gone cold in the lines; “Fire went out and the bed went cold, and your eyes won’t meet mine anymore; I put good money on this one, I don't like to be wrong….” This artist is the real deal and running through her tough look at life is a steely resolve to always come out fighting and winning at the end of the day.


http://lonesomehighway.com/music-reviews/2017/12/2/reviews-by-paul-mcgee.html

 

By Paul McGee

December 2, 2017

Amelia White
The Rock Club calls Rhythm Of The Rain "gorgeous:"

I am new to Amelia White. A quick online search revealed that she is a 'lifer' and this is her eighth album. It always amazes me when I discover such a voluminous back catalogue. I dipped into the other albums (available on iTunes) and they all contain top notch songwriting. I have seen Amelia described as a writer-songsinger and that seems an apt description. Amelia is a fine singer, with a voice that can can sound like Gretchen Peters, Karen Carpenter or Lucinda Williams at times, however she is a songwriter first and foremost.

Amelia is from Virginia. She started out in Boston, spent time in Seattle and has now been based in, where else, Nashville for a long time. The inspiration for her songs clearly comes from travelling and observing. The beauty is in the details and I could fill this review with examples of her descriptions that can paint a picture in a few words ('It’s another round for the old man humming to George Jones, his friends are coming to drink their unemployment down on Friday night, American small town'). This is a great skill.

The tone is upbeat, but there are disturbances bubbling right underneath the surface. Amelia just describes, without accusing or complaining. This leaves the listener free to draw their own conclusions. The overall air is one of acceptance. Things are as they are.

The opening track, 'Little Cloud Over Little Rock' was inspired by a photograph. Amelia wrote about it on her Facebook page, and this really illustrates the entire album:

"The idea of the tune to me (because it's a song therefore, you can have your own idea of it) is that my life takes me all over smalltown America where I witness people.. all kinds of people. Red state people, blue state people... they may have their differences but in the end they laugh, they work, they drink, and they wish they had more money, or a better job. The song really is a reminder to me to not take what I see for granted. Life is short, beautiful, through the struggles we find some kind of mutual comfort, rubbing elbows at a bar, a show, or a church. The clouds blow by, and the sky gets blue again, it's the endless cycle.”

'Yuma' is about someone who is leaving, but again the power is in the images of the scene Yuma leaves behind: 'One last tune on the record player, something 'bout the truth from another soothsayer, something 'bout life being just a cruel joke, have another drink, light another smoke. And the band plays on all night long, what was that song? All the pretty women dance and sing along'. This track brought Ryan Bingham's 'Sunrise' to my mind; a song I absolutely love.

'Said It Like A King' is a re-recording of a track that appeared on a previous album ('Motorcycle Dreams'). It is a terrific song, that deserves to be heard widely. Where the previous version featured an Edge-style guitar, this time the song has a shuffled rhythm, slide guitar and violin. There is an air of suspense as the song deals with bullying and deceit.

The title track starts with the spoken words 'Don't think too much people'. Sound advice in today's world. Amelia wrote this song last year whilst staying in her promoter's attic in York during a UK tour. She was reading the news from back home and began to write, observing from a distance. Some of the songs are co-writes, with amongst others Grammy Award winner Lori McKenna, with Northern Ireland native Ben Glover (a UK Americana Award winner) and with England's own Worry Dolls.

The overall vibe is summer-y and lazy. And that brings me to the sound. If I drove this would be music to drive to. It sounds gorgeous. The album is produced by David Coleman. I do not recognize the names of the other musicians credited, but no doubt they are top class session folk. Amazingly the record was recorded in four days, in between the singer burying her mother and getting married herself.

Amelia is headed this way. After a previous tour she said, “UK has been a fantastic experience. I’ve met so many great people who actually have the attention span to listen to a whole night of original tunes...” (nodepression 2012). We sure do. Her UK tour starts at the Camden Green Note on 13 November.

Helen

9/11

 

http://www.therockclubuk.com/index.php/album-reviews/2954-amelia-white-rhythm-of-the-rain

Amelia White
Music-News says, "4 Stars"

Amelia White manages something special in the world of Americana. She takes the ordinary and commonplace and manages to illuminate the core, make you feel the sense of import in the littlest thing. She uses her words to clarify little droplets of information and so makes the listeners life a little more complex, a little more involved. And she does it without making huge, sweeping, emotional statements but with a sense of gentle humour as well as her needle sharp observations.

Her last album was ‘Home Sweet Home’, all about the travails of life on the road, and I would say that this is its equal even though it was recorded in only four days – emotionally an incredible time as it was between her mother’s funeral and her own wedding.

Her themes are vast – fate, death, politics, grief and loss of tradition – but she views it all with a wry smile and a sense of love.

Musically, the album ranges from rockers such as ‘True Or Not’ or heavy country numbers like opener ‘Little Cloud Over Little Rock’ while she is at her best on ballads such as the gorgeous ‘Supernova’ where her slightly nasal singing voice counterpoints some lovely guitar. The darkness around the album’s closer ‘Let The Wind Blow’ evokes a brilliantly moody atmosphere.

White is so much more than just a country singer and also so much more than just a songwriter. One of the best Americana albums I’ve heard recently.

http://www.music-news.com/review/UK/12892/Album/Amelia-White

27 October 2017 (released)

Andy Snipper

    

Amelia White
Brighton Magazine on "Rhythm Of The Rain"

Monday 23 October 2017

Rhythm of the Rain: Amelia White Uses Grief As A Palate To Colour New Songs


"Don't think too much, people" is the spoken word snippet that begins the title track of Amelia White's newest album, Rhythm of the Rain.  

It's a flippant warning, a half-joke, a sideways call-to-arms that announces a casual subversion threading through these nine songs from the opening explosion of summer sunshine, through the heat of lust and addiction, landing with a glance at politics and fate while the window is still wide open, warm breeze blowing in the late afternoon. 

Amelia White asks us to not take it all so seriously and, at the same time, shows us how critical it all is: love, fate, death, grief, politics, which isn't surprising considering White made this record in the four days between her Mother's funeral and her own wedding. 

Rhythm of the Rain digs deep. Her well worn smokey pipes deliver a rawness you"d expect from mining that liminal space between grief and joy. 

While touring, last year, White stayed in a promoter's attic in York, and reading the news from the US began to write the songs that would make up Rain. 

That ocean of separation gave her the necessary distance to comment on the shake-up back home without finger pointing, something that White has always done. 

What separates Amelia White from most other songwriters in the Americana genre is her details. 

Like a short story writer steeped in the gothic humidity of the backroads, White illuminates the ordinary: "…dyed black hair and ear ring feathers/she"s gotta put three kids through school - she's sipping on the sly to keep her cool" (Little Cloud Over Little Rock). 

"Boy sat on a bus in the only open seat, mittens in one hand and a backpack at his feet" (Said It Like a King).  

There's a catchy melodic laziness to her rock and roll, an afternoon drive in the country, the top down, bare legs up on the dash, singing along to your favorite song: 

"When you feel like a sinking sun, you're not the only one", she sings, on Sinking Sun and you can almost taste the freedom of summer adolescence.  

The light threads through these songs.  "Sunshine coming through my window/I found something that I wanted…you" she sings to a lover in "Supernova," and later the love turns dark in Sugar Baby

As the album winds to a close, White leaves us with the one-two political punch of True or Not? 

"There's talk in the street that the deal is changing, everybody's on edge, look around" and then gently releases us with the hopeful coda, Let The Wind Blow, written with UK darlings, Worry Dolls. 

It's a wistful dream: "Miles and miles I thought I"d found a place to call home and a hand to hold/I put good money on this one, I don"t like to be wrong, I don"t like to be wrong." 

Lifers. It's how we define musicians called to the stage, living life in hotels, and friend's spare rooms, playing small and large clubs with sticky-floor stages, and microphones that taste of cigarettes. 

White has had TV and film placements (most notably Justified), record deals, cuts by some of the finest artists in the Americana world, but for her the success is in the doing, and there is no choice in the matter. 

She is a rock and roll soothsayer, an East Nashville Cassandra with an Americana gospel shout thicker than the paper-thin illusion of fame and money.  

Rhythm of the Rain is a late afternoon storm, a sky on the verge of cracking as wide open as Amelia White's heart. 

Amelia White plays The Greys, Brighton, on Tuesday 14th November 2017. CLICK HERE for more info.


by: Mike Cobley

http://magazine.brighton.co.uk/Clubs-and-Music/Reviews/Rhythm-of-the-Rain-Amelia-White-Uses-Grief-As-A-Palate-To-Colour-New-Songs/21_45_4892

Amelia White
The Rocking Magpie is "weak at the knees" for "Rhythm Of The Rain"

Mmmmmm, Smokey and Sultry Songs of Love, Life and Grief.

Sometimes it’s difficult to put into words why you like a particular singer or band; but with Amelia White her voice tugged at my very heartstrings the first time I heard it 5 or 6 years ago; and the stories she tells and the way she sings them makes me go weak at the knees every time they come out of the office Hi-Fi.


RHYTHM OF THE RAIN is Amelia’s 8th album in nearly twenty years and ( #SpoilerAlert ) is by far her most mature and probably the best I’ve heard.


The intro to opening track Little Cloud Over Little Rock sounds like a cool Indie Alt. Country band is about to kick in; them Amelia’s haunting and slightly smokey voice filters out of the speakers and a whole new aura envelopes the proceedings.


The story is full of intimate detail you’d normally associate with writers like Dylan and Joni or maybe Springsteen; not someone you’ve probably never heard of before. The character in the song has ‘dyed black hair and ear feather rings/she’s gotta put three kids through school/she’s sipping on the sly/to keep her cool’…..see what I mean? And it’s got a cool melody too.
Songs like Sinking Sun and Yuma probably sum up my feelings about Amelia White best; not quite Southern Gothic, but pretty damn close and with a swampy Country feel to them too; sort of as if Bobbie Gentry was singing her saddest songs with Creedence backing her.
There are Love Songs here aplenty; but not the ‘Moon in June’ type; these are dark and mysterious; the type you find later in life……listen to Sugar Baby and Supernova without getting a shiver down your back, and you are a stronger person than I am.


If this is your type of music; and I presume it is if you are still reading this far; you will absolutely love the title track Rhythm of the Rain; and my personal ‘favourite’ song here…….Let The Wind Blow, which closes the proceedings. In theory a simple enough song until you listen a second time, and even more intently the third and fourth times as a gorgeous story unfolds and unravels like a magical fairytale.


While these songs were written long before Amelia went into the studio; but when you realise that this album was written in the four short days between her Mother’s funeral and her own wedding; you will find an extra special spirituality in the way she delivers these beautiful songs.

Released October 27th 2017

https://rockingmagpie.wordpress.com/2017/10/24/amelia-white-rhythm-of-the-rain/

Amelia White
UK's MusicRiot gives "Rhythm Of The Rain" 4 Stars

No, there’s no sign of a cover of The Cascades’ 1962 hit here; it’s all very much contemporary Americana. Amelia White’s style is very distinctive, and this is emphasised by the spontaneous feel of “Rhythm of the Rain”, which was made in four days at a very  turbulent time in Amelia’s life. When she growls ‘Don’t think too much, people’ at the beginning of the title song, you can take a literal interpretation or a sarcastic one. Either works, it just depends wahich song you’re listening to. It’s certainly never going to be described a bundle of laughs, with “Yuma” and “Sugar Baby” dealing with addiction and “Sinking Sun” staring into depression.

The musical stylings are pretty diverse, ranging from the adult-oriented-rock feel of “Sinking Sun” and “True or Not” to the laid-back Crazy Horse feel of “Supernova”. The album has a more raw, rockier edge than last year’s “Home Sweet Hotel”; although “Sugar Baby” opens with a menacing, ”Deliverance”-style banjo and eventually moves through the gears to “Sticky Fingers”-era Stones. Then there’s the title song, with a backbeat, swampy texture, and a sense of oppression and foreboding contrasted with the folky string band styling of the album’s closer which is enhanced by some nice Hammond organ.

There’s one song that stands out, even on an album packed with powerful songs and performances, and it’s a co-write with Lorne Entress and Lori McKenna. The skittering rhythms of “Said It Like a King” make the song feel like it’s rushing uncontrollably towards an unpleasant revelation; I may be looking for examples of this everywhere at the moment, but this song does sound like it might have been partly inspired by the leader of the free world. It’s about bullying and pulls together vignettes featuring a bully on the school bus, a hellfire preacher and a general delivering unpalatable messages which are accepted because each one “Said it like a king”. It’s a very clever lyrical idea, but the kicker comes in the final verse. No spoilers, you have to listen for yourself.

“Rhythm of the Rain” is an intense experience; even the opening song “Little Cloud Over Little Rock”, peeping into the lives of smalltown Americans having their Friday night fling to a soundtrack of Merle Haggard and George Jones is underpinned by the quiet desperation of the line ‘his friends are coming to drink their unemployment down.’ Is the album downbeat? Yep. Fraught? Sure. Compelling? Utterly.

“Rhythm of the Rain” is released in the UK on White-Wolf Records on Friday October 27th.

Amelia will be touring the UK in November. Check out the dates here.

http://musicriot.co.uk/album/rhythm-of-the-rain-amelia-white/ 

by  Mckaya ON MONDAY, OCTOBER 23, 2017

Amelia White
"Rhythm of the Rain" the "real deal" says Americana UK

"White’s patternation of voice might not be to everyone’s taste – but those that don’t ‘get it’ are just wrong or maybe ill informed – or both.  This is the real deal, full of juicy tunes; all in her lazy broken style, the woman just oozes cool. Her last record, Home Sweet Hotel was a real tour de force and this is no exception – White is in a real rich vein of form, the production is snappy, the band taught and on the money.  Her art is prospering, and making the world richer. 

A connected woman, there ain’t no one she don’t know, and nobody has anything but good to say about her, with the result that this album has some great co-writes; Ben Glover, Ann McCue, the UK’s Worry Dolls, and one of Nashville’s super-hot writers right now – Lori Mckenna.  It’s all killer no filler for sure.

It is one of those records that’s great to start your day to, ease you into the grind, slip you from the sheets, pour your OJ, burn your toast and begin – with Amelia’s positive head on, workday blues are banished.  Try it, the hamster wheel of life will be faced with a more positive gait.

Album favourite, ‘True or Not’ has a lovely Spanglish guitar and a great line about frittering away your time watching Elvis movies – it’s like she’s sat in my front room and watched me squandering my life to Roust-a-bout.

White has a UK tour shortly and with an album as good as this it’s truly an appointment not to be missed, this is a chance to see East Nashville’s finest at the top of her game – take it.

Summary: Effortless cool and a song writing master class

9/10"

 

Rudie Hayes

August 8, 2017

http://americana-uk.com/amelia-white-rhythm-of-the-rain-white-wolf-records-2017

Amelia White
Album Announced - "Rhythm of the Rain"

Amelia White, East Nashville Soothsayer and rock/Americana poet returns to UK with “Rhythm of the Rain” (To be released OCT 27th- Proper) a 9 song sunny storm of songs that illuminate the Ordinary with a a keen eye, and a lazy melodic sensibility.

2016 was a good year for Amelia White in the UK, where her last full-length release, “Home Sweet Hotel,” landed some killer reviews, like a “Top of Country pick “in the Telegraph (along with Buddy Miller, Bonnie Raitt, and John Moreland.) She played Maverick, Summertyne, and Platform festivals, along with a month of club dates. While touring White stayed in a promoter’s attic in York, and reading the news from the US began to write, the songs that would make up “Rain.” That ocean of separation gave her the necessary distance to comment on the shake-up back home without finger pointing, something that White has always done. No judgement, just sharp observations that lead to emotions. Music City Roots host and journalist Craig Havighurst wrote that “her songs each have some fascinating crystalline shape that invites close attention and touch. “Rhythm of the Rain” is a collection of tunes touched by White’s tenure in theUK, and she’ll release it Oct. 27th, 2017 (Distribution through Proper Records) as an offering of thanks for feeling embraced just when she needed it.

Amelia White
UK TELEGRAPH lists HOME SWEET HOTEL as TOP BEST COUNTRY in 2016 ( along with Buddy Miller, John Moreland, and Bonnie Raitt) ( Nov. 22, 2016)

The touring life is the theme that runs through a strong album from Nashville's Amelia White. I liked the grungy strength of Right Back to My Arms, while the compelling guitar work complements the strong lyrics of the title song (“I’m like a riddle riding in the wind/Singing my songs for strangers in every town I’m in”). White can do traditional country well, too, as she shows on In My Blood. It's an individual album of depth, produced by Marco Giovino and featuring multi-instrumentalist Sergio Webb. ★★★★☆

Click here for the full article.

Amelia White
"Love & Politics" - Argonaut

East Nashville’s Amelia White hits McCabe’s after a UK tour that revealed eerie parallels to the rampant divisiveness at home


The first time I saw Amelia White perform was at one of the late Billy Block’s Western Beat showcases in Nashville. Her beguiling voice cut through the air like a young, orange-jacketed Lucinda Williams, sweetly tart yet melancholy, as she sang “Black Doves” from her 2006 album of the same name. The song burned itself into my sonic memory like a radio hit that never made the airwaves. It bears White’s songwriting trademarks: reverberant guitars, melodies that dance around evocative images, and insistent pop hooks.

Those qualities similarly inhabit “Home Sweet Hotel,” which she independently released in early February. Warmly produced by Band of Joy drummer Marco Giovino, the album heralds a new stage for White — one in which she’s achieved a somewhat stabilizing degree of acclaim and fan loyalty, yet also embraced her profession’s inherent restlessness. The music sounds particularly hopeful during tracks like “Love Cures” and “Rainbow over the Eastside,” but even sober tracks like “Six Feet Down” float on guitar-stroked pads of contentment.

“To me the big theme of the record was trying, from the inside out, to show the two different lives you lead when you play music, how you have to be out on the road,” she explains, still a bit groggy from the previous night’s flight home to East Nashville from a month-long UK tour. “If you don’t sort of give yourself over to that when you’re out there, you’ll be miserable. But when you come home, you’re in that world. I have a strong sense of being happy in my home; I have a nice home in Nashville, I’m in love, I have a little fur family. I believe in the power of love. It’s grounded me a lot.

“And in these political times, I totally think that love is the answer. That sounds so cheesy, but I think the simple act of being kind to people you come in contact with in your day, and helping strangers and friends, and just taking a little more time to get off your damn phone and make some eye contact and make people laugh — I really believe in that. I believe in that more than I believe in anything right now — that, and the power of music and art. You can do all the political stuff, and I believe in doing what you can, but I really think politics starts from that place.”

Politics inevitably dominated conversations on tour: she arrived two days after the Brexit referendum. White, who describes herself as a “writer-song-singer,” laughs as she recounts how reviewers favorably perceived her as country (“so not what I’m perceived as here”), but her tone turns thoughtful when discussing the UK political climate.

“People were just kind of carrying on, but everybody was bitching about it,” she recalls. “And it was interesting because, just like I feel like I hardly encounter anyone who is in the whole Trump camp, these people that I was talking with were like, ‘We don’t know anyone who wanted Britain to leave the union.’ So it was really interesting, that parallel.”

Just as compelling, though more awkward, was trying to explain thorny US subjects like presidential candidates and mass shootings.

“I had a lot of dinner conversation about guns — just trying to explain to people. I think it’s really hard for them to wrap their heads around. It’s hard for me to wrap my head around, people’s obsession here with guns. I definitely have some friends who stand on the other side of the argument from where I stand, and when you really listen to everything they
have to say, you realize this is not shallow. It’s a very deep chasm.”

With several albums under her belt, White has settled into what was once called the troubadour’s life: writing songs, recording albums, touring, returning home to live and observe the world, and then repeating the whole process. Years of DIY touring have connected her with enclaves of understanding musical family, especially here in Los Angeles. (“A lot of times people think I’m from L.A. I don’t know why.
I always take it as a compliment.”)

When she performs at McCabe’s Guitar Shop on Friday night, White will be supported by players who have accompanied her at previous local shows and studio sessions — keyboardist Carl Byron, guitarist Johnny Hawthorn and bassist Ted Russell Kamp — and guest turns by Calico’s Manda Mosher and Kirsten Proffit, who will also preview material from their forthcoming album in a separate set.

“I’ve been playing mostly solo the last month, so it will be a luxury to have the Cadillac instead of the Volkswagen,” White says with a chuckle. “And Calico — they’re really good people and so creative and optimistic, and I love being around that. I’m really thrilled that a song that we co-wrote, ‘Under Blues Skies,’ is gonna be on their new album.”

As for “Home Sweet Hotel,” she’s still contemplating the circumstances that inspired it.

“Music, if you’re really sincere about it and you work hard, is the most humbling thing you can do,” she says.

But the same things that make her feel “passionate and high” can still bring her down.

“It’s hard to keep going knowing you’re on the margins,” she acknowledges. “But I’m pretty comfortable with the fact that I’m an artist. I believe that things come up to keep you going. The more you do and put your faith out there and try to improve, these weird nets come along and catch you. They’re not always exactly what you want, but they come — psychic nets or monetary nets. If you’re an artist, you’ve gotta do it, and that’s just the bottom line.”

Amelia White shares a bill with Calico the Band at 8 p.m. Friday, Aug. 5, at McCabe’s Guitar Shop, 3101 Pico Blvd., Santa Monica. $20. Call (310) 828-4497 or visit ameliawhite.com.

-Bliss Bowen

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Amelia White
Home Sweet Hotel - Fatea UK

Its gentle start to an album of road ballads, and tunes inspired by a life spent in the saddle, touring, pushing her subtle, clever country roots across the highways of the US and beyond. The title track, an ode to the sanctity and relief found in hotel / motel rooms for the working musician is testament to White's time spent banging on the door opened by the likes of Lucinda Williams whose guitarist features across the record, to electrifying effect. In fact the albums rampant musicality lies at the heart of its greatness, and it is great. Rightly lauded by the likes of the Telegraphy as one of the best country albums of the year, I love its diversion away from convention drums as percussion, 'Love Cures' thunderous gong being a case in point. Throughout this approach embellishes, even supports White's haunting vocal.

Don't misconstrue her often quiet demeanour or slightly shuffly vocal, it's a muscular depth and subtly that only serves to deliver a rabbit punch when you least expect it (and a damm earworm). There is a knowing avuncularity to the record, a sly nod to the listener, a pre-assumed knowing of where she is coming from, it's part of its joy - you're welcomed in, part of her gang, a new friend made.

This is the sort of country that resonates so firmly in the UK, and part of the reason why East Nashville artists do so well here. We don't really get the beer n' trucks of music row, but artists like White provide us Americana, literate, full of fruity retrospection, dark moments of the soul - less red dirt more rainy days.

The record's essential charm is that although gloriously sophisticated and heavyweight, it's not showy or pretentious, it engages, beguiles and flatters the listener, and once its barbs are in you you'll feel like you have owned it for ages - a master piece.

-Rudie Humphrey

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Amelia White