In the album liner for Robert Plant’s eighth solo album, Mighty ReArranger, iconic British journalist Ed Vulliamy referred to Plant’s voice as “one of the most remarkable musical instruments around for four decades.” Nearly a decade has passed since the release of that album, but I’m fairly certain Vulliamy would stand by, and revise, his statement… And, I’m fairly certain that, one day, someone of equal stature will say the same type of thing about contemporary singer/songwriter Lauren Bradford’s truly talented, one-of-a-kind voice.
The first song I heard from Bradford’s recently released self-titled album was her third track, ‘Tom.’ Initially, the song confused me, though it thoroughly pleased my senses. I couldn’t decipher the age, gender, or race of the vocalist – and, that was fine with me, because whoever was singing was singing with a clarity and crispness that’s sadly lacking in most of today’s popular music. From C to B and back again, with everything between, each note sounded pure and perfect, how it should sound, regardless of the singer’s particulars; each run and trill lead me on an exploration of what the human voice is capable of, given the right amount of skill and an abundance of passion; and, the piece, as a whole, left me begging to hear more – much more – from this artist.
The next two songs I heard – ‘Sunrise’ and ‘Stallion’ – helped me realize the singer’s gender, though, again, her age and/or race were not apparent… and simply did not matter. Nonetheless, I was curious, so I searched the interweb for the name accompanying the song titles. I don’t know what I was expecting to find, but what I did find amazed me.
On the screen before me, I saw a young, small-statured Caucasian woman, doe-eyed and daydreaming. I was instantly intrigued by this petite powerhouse and felt compelled to contact her. I sent her an email, praising her music, and was quite happy when she quickly responded with an appreciative message, accompanied by links to her work and a few paragraphs of biographical information.
Miss Bradford hails from the San Francisco Bay area, though she crossed the pond and now makes her home in London, England, where she joined forces with double bassist Art Banymandhub and drummer Tristan Verhagen. Together, the trio generated Bradford’s debut album, released January 2015 – and, for me, the album has already become both a staple and a classic.
My first listen left me soothed and satisfied; and, it was during my second listen that my jaw dropped and I formulated my opinion. I was – and am – immensely impressed by Bradford’s use of her voice, and her ability to master it in a way that few can; and, considering the fact that she’s relatively young (or at least appears to be), I saw in her nothing but potential, promise, and the power to create marvelous music.
Bradford sings from her solar plexus, or, in other words, from her chest, from her heart, from something deep inside her. There is no falsetto in her work; no heady, vacant vocals or bubblegum pop. Her range is vast, and she uses it completely – and creatively. In songs like ‘The River City,’ she performs a duet with her guitar, where her voice and her strings, together, create the rhythms and chords that drive the track. Other songs – such as ‘The Bird and the Weeping Willow’ and ‘White Picket Fence’ – are replete with beautiful sounds that tell a story and demonstrate Bradford’s superior, and sensitive, songwriting skills.
No matter what sound comes out of Bradford’s mouth, it is pleasant and pleasing. In some of the songs listed above, and in others, she sings those “filler sounds,” ya’ know, the, “la-la-la-la la la la,” and things of that ilk; and, those filler sounds sound just as soulful, rich, and fantastic as any word she sings. Hell, Bradford could sing names out of the phonebook, or sing the items on a takeout menu, and I’d sit, listening, in total enjoyment.
Like Robert Plant and other select artists – including Stevie Wonder, Marvin Gaye, and Etta James, who Bradford cites as her influences – this folk singer has embraced the instrument inside her, and uses it, and plays it, every way she can. I dare say Lauren Bradford’s voice is one of the most remarkable musical instruments around today, and I can’t wait to see what tomorrow brings for her, and for me, as I am now a faithful member of her fan base.
The first song I heard from Bradford’s recently released self-titled album was her third track, ‘Tom.’ Initially, the song confused me, though it thoroughly pleased my senses. I couldn’t decipher the age, gender, or race of the vocalist – and, that was fine with me, because whoever was singing was singing with a clarity and crispness that’s sadly lacking in most of today’s popular music. From C to B and back again, with everything between, each note sounded pure and perfect, how it should sound, regardless of the singer’s particulars; each run and trill lead me on an exploration of what the human voice is capable of, given the right amount of skill and an abundance of passion; and, the piece, as a whole, left me begging to hear more – much more – from this artist.
The next two songs I heard – ‘Sunrise’ and ‘Stallion’ – helped me realize the singer’s gender, though, again, her age and/or race were not apparent… and simply did not matter. Nonetheless, I was curious, so I searched the interweb for the name accompanying the song titles. I don’t know what I was expecting to find, but what I did find amazed me.
On the screen before me, I saw a young, small-statured Caucasian woman, doe-eyed and daydreaming. I was instantly intrigued by this petite powerhouse and felt compelled to contact her. I sent her an email, praising her music, and was quite happy when she quickly responded with an appreciative message, accompanied by links to her work and a few paragraphs of biographical information.
Miss Bradford hails from the San Francisco Bay area, though she crossed the pond and now makes her home in London, England, where she joined forces with double bassist Art Banymandhub and drummer Tristan Verhagen. Together, the trio generated Bradford’s debut album, released January 2015 – and, for me, the album has already become both a staple and a classic.
My first listen left me soothed and satisfied; and, it was during my second listen that my jaw dropped and I formulated my opinion. I was – and am – immensely impressed by Bradford’s use of her voice, and her ability to master it in a way that few can; and, considering the fact that she’s relatively young (or at least appears to be), I saw in her nothing but potential, promise, and the power to create marvelous music.
Bradford sings from her solar plexus, or, in other words, from her chest, from her heart, from something deep inside her. There is no falsetto in her work; no heady, vacant vocals or bubblegum pop. Her range is vast, and she uses it completely – and creatively. In songs like ‘The River City,’ she performs a duet with her guitar, where her voice and her strings, together, create the rhythms and chords that drive the track. Other songs – such as ‘The Bird and the Weeping Willow’ and ‘White Picket Fence’ – are replete with beautiful sounds that tell a story and demonstrate Bradford’s superior, and sensitive, songwriting skills.
No matter what sound comes out of Bradford’s mouth, it is pleasant and pleasing. In some of the songs listed above, and in others, she sings those “filler sounds,” ya’ know, the, “la-la-la-la la la la,” and things of that ilk; and, those filler sounds sound just as soulful, rich, and fantastic as any word she sings. Hell, Bradford could sing names out of the phonebook, or sing the items on a takeout menu, and I’d sit, listening, in total enjoyment.
Like Robert Plant and other select artists – including Stevie Wonder, Marvin Gaye, and Etta James, who Bradford cites as her influences – this folk singer has embraced the instrument inside her, and uses it, and plays it, every way she can. I dare say Lauren Bradford’s voice is one of the most remarkable musical instruments around today, and I can’t wait to see what tomorrow brings for her, and for me, as I am now a faithful member of her fan base.
Five Stars