Jennifer Niceley’s Birdlight Reveals a Unique, Captivating Southern Voice
Over the last few years, Tennessee songwriter Jennifer Niceley has distilled a distinctive blend of noir torch song, Americana, Nashville gothic, classic southern soul and blues. Her latest album, Birdlight, is streaming at Soundcloud. In recent years, the twang has dropped from Niceley’s voice, replaced by a smoky, artfully nuanced, jazzy delivery. The obvious comparison is Norah Jones, both vocally and songwise, although Niceley has more of an edge and a way with a lyrical turn of phrase. As with her previous releases, the new album features a first-class band: Jon Estes on guitars, keys and bass; Elizabeth Estes on violin; Evan Cobb on tenor sax; Steve Pardo on clarinet and Imer Santiago on trumpet, with Tommy Perkinsen and Dave Racine sharing the drum chair.
The album conjures a classy southern atmosphere: imagine yourself sipping a mint julep in the shade of a cottonwood, the sound of a muted trumpet wafting from across the creek, and you’re in the ballpark. The opening track, Nightbird, sets the stage, a nocturne with Niceley’s gently alluring delivery over a pillowy, hypnotic backdrop livened by samples of what sounds like somebody clumping around in the woods. The second number, Ghosts, is a balmy shuffle lit up by Estes’ deliciously slipsliding Memphis soul riffs, and picks up with a misty orchestral backdrop. .
Niceley sings New Orleans cult legend Bobby Charles’ Must Be in a Good Place Now with a hazy late-summer delivery over a nostalgic horn section and Estes’ keening steel guitar, and a little dixieland break over a verse. The Lynchian Julee Cruise atmospherics in Land I Love, from the swooshes and gentle booms from the drums and the lingering pedal steel, are absolutely gorgeous, Niceley brooding over her pastoral imagery and how that beauty “is never coming back.”
What Wild Is This switches gears for a lushly arranged, bossa-tinged groove; then Niceley switches up again with a gently swaying western swing cover of Jimmie Rodgers’ Hard Times. She keeps the jazzy-tinged atmosphere going with a restrained version of Tom Waits’ You Can Never Hold Back Spring.
But’s Niceley’s originals that are the real draw here, like Goodbye Kiss, a wistful lament that along with Land I Love is the most plaintive, affecting track here: “Unfinished visions keep hanging around like fog in the trees,” Niceley muses. The album’s title track is a brief inetrumental, Niceley’s elegant guitar fingerpicking against washes of violin and accordion. She winds it up with the hypnotic, surreal Strange Times, whose wary psychedelics wouldn’t be out of place on a Jenifer Jackson record. Lean back with a little bourbon and drift off to a place that time forgot with this one: what a great way to stay warm on a gloomy winter evening.
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