Showing posts with label Katie Pruitt. Show all posts
Showing posts with label Katie Pruitt. Show all posts

Saturday, August 17, 2024

CD Odyssey Disc 1759: Katie Pruitt

I’m mid-way through a much-needed weekend I made long by design. I’ve filled the first half of it with disc sports (a day playing disc golf followed by a morning playing Ultimate) and I’m a bit stiff and sore, but it is the good kind.

I’ve just awakened from a slightly overlong nap, refreshed and ready to turn my mind to the lovely record I’ve been listening to all week.

Disc 1759 is….Mantras

Artist: Katie Pruitt

Year of Release: 2024

What’s up with the Cover? When playing around in photoshop it is important to know when to say when. That did not happen with this cover. We’ve got some trees, columns, lightning, birds, and what looks like a playing card with three different visages of Katie Pruitt on it.

When I reviewed Pruitt’s live show, I bemoaned the lack of merch available, but had the concert shirts had this graphic on them, I would’ve been hard pressed to buy one with this graphic.

How I Came To Know It: Katie Pruitt’s debut album, “Expectations” (reviewed back at Disc 1361) LINK was my favourite album of 2020 (for the full list, see here). As in, #1. Checking out the follow up was a no-brainer.

How It Stacks Up: I have two Katie Pruitt albums, and if you’ve been reading along to this point you know what they are. It would take a lot to dethrone “Expectations” at #1 and while I liked “Mantras” it can only manage a distant second.

Ratings: 4 stars

I came around slowly to “Mantras” but this was more an unfair comparison to Katie Pruitt’s earlier release. Once I got over the fact that her new record was never going to achieve the same heights, I was able to settle in and enjoy it for what it is.

Stylistically, this record is more of the same, indie Americana folk with a pop sensibility to the song construction, but with much more to say than your average radio pop pablum.

When we last left Pruitt she was a young woman sharing coming of age stories of a young gay woman in the small town American south, with all the complexity and challenges that implies.

Here, we have a slightly older Pruitt, still writing from a very personal place, but with new stories to tell, including what it is to have and lose love, ongoing familial challenges where world views collide, and confronting the anxiety of not knowing how everything will turn out, and being OK with that. Her raw honesty is once again on full display, and that willingness to go to a place of vulnerability is what makes Pruitt a great songwriter and storyteller.

The album opens strong with “All My Friends”, a song about exploring new belief systems after you realize the ones you were raised with may not be what you need. While the exploration is coming from a place of not knowing, the song’s structure is brave and optimistic. We don’t always know where we’re going, but checking out the options can be freeing.

“White Lies, White Jesus, and You” comes next, the flip side of “All My Friends” optimism. Here, Pruitt explores the judgment of others, and calls them on their hypocrisy. Best line:

“You talk about forgiveness like a favour
Like It’s something that you don’t have to do.”

Her message is clear – that’s not how it works in that book you’ve been reading.

In other songs, Pruitt confronts anxiety in its various forms. We’ve all suffered at one time or other from having our minds racing like a hamster on a wheel, and Pruitt’s explorations of the experience (“Self Sabotage”, “Worst Case Scenario”) describe efforts to calm her mind and relax, with varying degrees of success..

Structurally, the songs are very familiar, and Pruitt has not altered the way she writes. Same phrasing, same chord combinations. This is fine with me, given that “Expectations” is such a great record, but lyrically “Mantras” is not as consistent, with some songs blurring the lines between heartfelt and trite. A good example is “Blood Related” – a good song about an awkward family dinner, but in terms of emotional impact it’s no “Georgia”.

Through it all, Pruitt’s vocals come to the rescue. Even on the lesser songs, her phrasing and the full, sweet tone of her voice make you forgive the occasional clunky lyric. Her voice is a delightful bird song that you can’t get enough of. Not so much powerful as it is full and bright and full of confessional honesty.

I started out thinking “Mantras” was a three-star record, but the more I listened the more I liked it, and for this reason I’m going to set aside all my unfair comparisons with the ghosts of records past, and I gave it the four stars it deserves.

Best tracks:  All My Friends, White Lies White Jesus and You, Jealous of the Boys, The Waitress 

Sunday, April 28, 2024

Concert Battle: Pruitt vs Cube

April 22 and 23, 2024

Can there be even MORE content for you this weekend, gentle reader? Yes! This week I saw not one but TWO concerts (and a dance event, but we don’t review dance here so let’s move on).

Rather than review these separately (and since I don’t have either one’s new release) I present…Concert Battle!

Before we get to that know that only a day ago the CD Odyssey had its first ever encounter with…Christian rock! Intrigued by just what the hell I would say about such a record? Simply scroll down after you read Concert Battle! and find out. You will not be disappointed.

And now…Concert Battle! On Monday I saw Katie Pruitt and on Tuesday I saw Ice Cube. Both were great but who was better? Read on!

The contenders:

Name: Katie Pruitt
Style: Indie Folk
Age: 30
Height: Undisclosed (maybe 5'3")

Name: Ice Cube
Style: Hip Hop
Age: 54
Height: 5’8”

Analysis: Pruitt has the age advantage, but Cube has the reach. Fortunately, there will be no fighting involved, rendering this statistic completely irrelevant.

The venue

Capital Ballroom: Built in the 1920s, this iconic hall has had many renos and even more names over the years. It currently holds up to 600 people, but I think that would look very packed indeed. We got some plush seats in a banquette at the back of the room which had a great view after finding our usual balcony spots were grabbed by “others”.

Katie did not fill the venue and I’d say there were maybe 100-150 in attendance. The bathrooms at the Capital are not great, but I was good and dehydrated (by design) and didn’t need to brave them.

Memorial Arena: Built in 2005 (after much political toing and froing), the building holds up to 7,400 but was configured for the show to allow about three quarters of that. It was packed. Like all stadiums, the bathrooms are a true horror show, but again forward planning precluded my attendance to them.

Our seats were stadium seats a ways from the stage but at a very good height and angle for viewing.

Analysis: I will always take a medium sized concert hall over a giant stadium, if only for the sound. Packing the stadium isn’t the deciding factor here.

Winner: Pruitt.

The crowd

Katie Pruitt: Not surprisingly, a generally younger crowd of twenty and thirty-somethings. You could tell they were true fans that were excited to see the show, and the smaller number gave the event a nice intimacy. Everyone was nice, and while there were same loud talkers at the back of the room, they were doing it at the back of the room, which is the right place for such behaviour. Also, they quietened down when Pruitt took the stage, so all good.

Ice Cube: Also a younger crowd of twenty and thirty somethings, which was a bit more surprising given Ice Cube made his most famous music in the eighties and nineties and spent a lot of recent history making movies. This crowd, while young, were not just there for the experience – you got a real sense these folks LOVED Ice Cube.

The folks directly in front of us were particularly awesome. It was two couples about our age and two young women I think must’ve been their daughters. The one “mom” was clearly a hip hop fan from back in the day, knowing every song and hitting the experience HARD.

Mom had raised those two young women right. They knew every song within a few notes, singing along (in time) and dancing with the enthusiasm of true believers who were there to see the show and not just be seen being at a show.

Winner: Ice Cube

The Opener:

Katie Pruitt:

Katie Pruitt’s opener was a young singer-songwriter from Nashville named Jack Van Cleaf who I instantly liked. He sang clear and with the grace of a natural storyteller. The highlight song was called “Cowboy” and sounded a bit like Blue Rodeo’s “5 Days in May” and ended with an artful reference to Townes Van Zandt’s “Pancho and Lefty”.

Also good was “Rattlesnake” with this sweet little lyric:

“Love is like a rattlesnake
Before it bites it tries to warn you.”

Van Cleaf’s band was a trio, where the bass player added in a drum machine as needed. This was not annoying like you might think. Katie Pruitt joined him on stage and did some dueting with him, but I thought he was doing just fine on his own.

Ice Cube:

Ice Cube had a bunch of opening acts. The two hip hop bands were “Peter Jackson” and a guy with the clever name of “Merkules”. Also, we were treated to the DJing of some dude called DJ Young Legend.

DJ Young Legend just played the first third of various hit hip hop tracks from the past thirty years or so and occasionally shouted at the fans to wave their hands around. Many in the crowd seemed to love this, particularly the aforementioned true fans directly in front of us. Watching them enjoy it so much and sing along was much more fun than the actual package of tunes he rolled out. If I wanted to listen to hip hop records, I can do that at home.

Of Peter Jackson and Merkules, I enjoyed Peter Jackson much more. Pretty good flow, and an upbeat vibe. Merkules admitted that his schtick is to take other people’s songs and riff off of them live. This is exactly what he proceeded to do, which I found exactly as derivative as it sounds. Apparently he is well loved by many in the crowd, but I did not get it. In his banter he was genuine and gracious to all the folks that helped him succeed (including his brother, girlfriend and parents). He even brought his parents out on stage to thank them for their support over the years.  I found myself liking him as a person, even though I didn’t enjoy his performance.

The biggest issue I had was all the openers seemed intent on pumping up the crowd with exhortations to “get your hands up!” and “y’all excited about Ice Cube?!?” I don’t like to be told what to do at the best of times, and the hyping went on for the better part of two hours before Ice Cube took the stage. Hype people up with your performance, not with commands.

Winner: Katie Pruitt

The Main Event

Katie Pruitt

Katie Pruitt is one of my favourite singer-songwriters in recent years. Her 2020 album was my favourite of that year, and her new record, “Mantras” is almost as good. This meant she had a lot of great material to work with, despite being only two records into her career.

Pruitt is unassuming on stage, but still commands it, chiefly through her powerhouse vocals. She’s great at moving up and down her range and her songs have melodies that are natural, free and easy. She sang with grace and intensity and connected well with her audience.

She did a good mix between the new album (I’d say about 65%) and the old (35%) and while she didn’t play all my favourites (I really wanted to hear “Georgia”) she played most of them.

Late in the show she unplugged and climbed down into the audience with her guitar to sing without amplification as we all crowded around to hear. Everyone honoured the moment by being still and silent and it was quite lovely indeed. I was moved, literally, abandoning the safety of the banquette to take part in a quiet moment of connection.

Best moment: This came early on with an inspired rendition of “Grace Has a Gun” but she was solid throughout.

Worst moment: Pruitt had a good level of banter, but she went on a bit too long with a schtick using a Magic Eight Ball to answer questions from the audience. No one seemed included to participate and the whole thing was awkward and went on too long.

Best diss song: Katie Pruitt’s music is more about forgiveness and understanding that disses but “White Lies, White Jesus and You” hits the mark as a song that takes aim at those who use religion to judge others. Best line:

“'Cause you talk about forgiveness like a favor
Like it's something that you didn't have to do
Speaking of some things I put behind me
White lies, white Jesus and you”

Mic drop.

Ice Cube

Being 54 years young and having a bunch of children’s movies under his belt have in now way softened Ice Cube. He still hits the rhymes hard and has great flow. He also is fully in command of the crowd. He had the 6,000 or so fans in the palm of his hand from the moment he hit the stage.

Cube has so much good content to draw on, and he digs deep into his catalogue, working N.W.A., his early stuff and his late stuff all into the show equally well. His banter is solid, and felt like quality skits from a rap record in the day, only new.

Overall, I had a good time, but I did have some issues. First, I don’t think in the course of two hours Cube played a single song until the end. He would typically start up a tune, drop the first few verses, but then descend into some sort of crowd participation chant. I don’t know if this is just how he always rolls, but when I saw Run the Jewels they were able to rap full songs, and I was hoping for the same.

Instead, I found myself getting excited about a tune I liked, reveling in the early verses, and then losing interest when I realized the chanting part had taken over and we were about to segue prematurely into another half song. At one point he said “we’re gonna do 4 NWA songs in a row!” to the enthused roar of the crowd. Because of this half-song approach those four songs were wrapped and done in about 10 minutes.

Best moment: Ice Cube was at his best during the banter moments. He has a natural command of the stage, and he was able to rile up the crowd at will. At one point he had opposing sides of the stadium alternating chants of “Party over here – f___ you over there!” which was so fun it was the first and only thing that night that I was told to do, that I did.

Worst moment: “No Vaseline” is a classic tune. Don’t tell me you are going to sing it and then sing two minutes of it. If you are still willing to say all that nasty stuff, then say it all the way through.

Best Diss song: “No Vaseline” is the greatest rap diss track of all time. Ice Cube even named a bunch of other contenders before he performed it, just so he could clarify they were not as good. He was right. “No Vaseline” is the best. I wish I’d heard all of it, but still – it’s brilliant. It is so down and nasty that I can’t in good conscience share any of the lyrics. Go listen yourself if you dare.

Winner: Katie Pruitt

The Merch

Part of a good show is good merch. How did our competitors perform on this front? Let’s see:

Katie Pruitt:

When I went to the merch table initially all that was there were some Jack Van Cleaf shirts. I demurred, not knowing if I’d like him or not. After his set I went back and bought a funky t-shirt celebrating the song “Cowboy”. I also met Jack, who consented to the friendly photo you see above. Very cool!

However, despite a couple of mournful returns, at no point did Katie Pruitt’s merch appear. Nothing. I wanted to buy her new album but…no. I wanted a t-shirt to commemorate the occasion but again…no.

It is annoying enough when the merch table runs out of mediums, but not bringing anything at all? Lame.

Ice Cube:

Ice Cube had a grade A merch table. The lineup to get to it was 40 minutes long, but once you were there you were rewarded. The designs were groovy, the shirts had the tour locations on the back and the tour had a cool name (“Straight Into Canada”).

Of some frustration, my first option was…you guessed it…sold out of mediums. Argh. I bought a large that later turned out to be at least not too large, albeit a bit roomy. It was pricey at $60, but opening act Jack Van Cleaf’s shirt was $45 and only one-sided so…fine.

Winner: Ice Cube

Summary:

Ice Cube takes the categories of both Crowd and Merch, but Pruitt responds with wins of her own in Venue, Opener and the all-important Main Event.

Overall Winner: Katie Pruitt

Monday, December 28, 2020

The Best Albums of 2020

 Welcome back! I’ve been on vacation and have had limited opportunities to fulfill music listening within the parameters of Rule #4 (n.b. – I usually do this on my way to and from the office, so with no commute, reviews tend to drop off).

Never fear, intrepid reader! I am here to provide a timely salve to the interweb’s insatiable need for content. Not just content, either, but the second most popular thing people do on the internet after cat videos – read lists!

I listened to all or part of over 150 albums released in 2020, and bought 70 of them. Of all of these albums, I narrowed the field to a top 20. Over the course of the last week or so, I’ve played each of these 20 albums one more time to get them back in my head. I did so with the participation and assistance of my lovely wife Sheila, who helped me with her opinion of each, and more generally called bullshit on my more offside choices - apparently I have a hidden weakness for very specific guitar strumming patterns…who knew?

Anyway, without further ado, here are my Top 10 albums and – because choices are hard – five more albums good enough to achieve an “honourable mention” that fell just short of the final list. Depending on your tastes, these could be interchangeable for you in your quest to hear something good.

10. Lucinda Williams – Good Souls, Better Angels

     - Lucinda is consistently good, but with Good Souls, Better Angels she delivers her finest work in over a decade.

9. Sarah Siskind – Modern Appalachia
     - Sweet and tasteful exploration of Appalachian music from every facet you can imagine.

8. Lydia Loveless – Daughter
     - 
Loveless’ seventh record is her usual mix of regret and heartbreak wrapped within her best collection of songs yet.

7. HMLTD – West of Eden
     - A mix of psychobilly, post-punk and New Wave, this record is a ton of apocalyptic fun. Also the record that most impressed Sheila.

6. Phoebe Bridgers – Punisher
     - It was a hell of a thing to match the brilliance of 2017 “Stranger in the Alps”, but Bridgers manages it.

5. HAIM – Women in Music Pt. III
     - Twice before HAIM has almost snared me with their talent for writing top-tier folk-adjacent pop. On their third attempt I swallowed hook, line, and sinker alike, as the saying goes.

4. Jaime Wyatt – Neon Cross
     - Like Bridgers, Wyatt also ascends once more to the heights of a 2017 debut. This is country music with edge and honesty like you’ll rarely hear. Also the record that least impressed Sheila.

3. Run the Jewels – RTJ4
     - Is this Run the Jewels’ best record ever? It is good enough to beg the question.

2. Bonnie Light Horseman – Self-Titled (Reviewed at Disc 1351)
     - Sometimes music is so pure and perfect that everything else just melts away. This is one of the best folk records I’ve ever heard, and I’ve heard a lot of folk records.

1. Katie Pruitt – Expectations (Reviewed at Disc 1361)
     - One young woman’s courageous journey out of the shadows of self-doubt and small-town Georgia to find her place in the world. A fabulous collection of folk-rock gems that leaves me verklempt every time.

Honourable Mention: Taylor Swift – Folklore; Sarah Jarosz – World on the Ground; Clem Snide – Forever Just Beyond; THICK – 5 Years Behind; Dehd – Flower of Devotion

Friday, April 24, 2020

CD Odyssey Disc 1361: Katie Pruitt


This week Fiona Apple released her new album, “Fetch the Boltcutters” to much critical acclaim. When I say ‘much’ I’m not even remotely close to the level of enthusiasm expressed; Paste Magazine gave it a 9.6 and Pitchfork outdid even that with a perfect 10. I’ve never been a big Fiona Apple fan but decided with ratings like those I better see what all the fuss was about.

Turns out the fuss was – as it often is with critical darlings – that the album was “brave” and “experimental”.  It was both these things and featured many a clever turn of phrase and thoughtful lyric (the album title not least among them). Just don’t expect a review of it to show up here. It was solid, but it wasn’t for me. I’m a little old school in that I think music should be played from the heart, and regardless of genre, it should move you.

On to a record which – despite getting a miserly 7.0 from both sources above – does just that.

Disc 1361 is…. Expectations
Artist: Katie Pruitt

Year of Release: 2020

What’s up with the Cover? It looks like someone has knocked all the stained glass out of a church window and let nature come streaming in, all laden with butterflies and sunflowers. The effect is…well, it’s beautiful.

Regardless of your views on religion stained glass can also be beautiful, so don’t go smashing it, unless you’re doing so metaphorically.

How I Came To Know It: I read a review and despite the relatively low rating, I decided to give it a shot.

How It Stacks Up:  This is Katie Pruitt’s first album, so not only does my collection not have anything to stack it up against, neither does anyone else’s. Unless you’ve got some random independent EP or mixed tape. That seems like it probably exists somewhere. Not here, though.

Ratings: 5 stars

Unlike “Fetch the Boltcutters,” Katie Pruitt’s “Expectations” is not experimental, but it is just as brave and then some. Pruitt lays her soul bare on this record, tapping into deep personal angst and experience, and a whole lot of love. In the process she has created a record with the power to move multitudes.

Pruitt’s style is rooted solidly in the contemporary Americana movement, blending rock, folk and country in a style heavily reminiscent of Brandi Carlile, with a dose of Patty Griffin thrown in. I mention those two singers fully aware that they are heavyweight vocalists, because Pruitt’s voice is every bit as glorious. She has the pure power of Carlile and the well-placed folksy warble of Griffin. She even demonstrates a slight rock growl when she opens up, which is a welcome addition.

This rock growl is even more noticeable on her live performances, and while present on “Expectations” the record generally opts for a light touch on the production, leaving lots of space. Sometimes the songs soar and expand into that space as they develop, and sometimes they are left empty, so the import of her message can sink in more quietly.

Pruitt is still young (26) but she has an old soul, and her debut album demonstrates the maturity of someone who has spent her time on planet earth well, figuring herself out. The songs are heavily influenced by her journey as a young girl growing up in a religious family in the American South (Georgia), coming to terms with her own beliefs and sexuality.

There are a lot of songs on this theme, and it would have been easy to wind up with an album lacking range, but Pruitt deftly avoids this. In part, she does this through varying the composition and tempo of the songs. They have a cohesive style, but within that style Pruitt explores different melodies, strum patterns and arrangements that keep you constantly attentive.

However, her big secret of success is no secret at all; she sings from the heart. Every song is a gut wrencher, and there were multiple times (even on later listens) they had me tearing up with emotion. These songs are deep in Pruitt’s bones, and as you listen, they sink into yours as well. I’ll never know what it feels like to grow up gay, working through all the doubts and fears of how to resolve that internally, let alone to a religious family. But listening to Pruitt is about as close an approximation you can get. Her songs are deeply empathic, and if empathy isn’t the first goal of art, I don’t know what is.

As best she can, Pruitt takes you on the journey with her, through songs of doubt like “Normal”:

“Stumbling around Athens frat boys were in hot pursuit
Left me staring at the ceiling pissed off and feeling used
Wasted and worn out and wondering where do I fit?
And scared as hell ‘cause I knew I was different.”

Through to songs of triumph like “Loving Her”:

“If loving her’s a sin I don’t wanna go to heaven
No there’s nothing up there that I could need.”

Pruitt’s vocals are perfect for the journey, quiet and confessional when needed, and big and brash as the story blossoms. It may be her personal journey, but these songs swell up under you like a wave and carry you with them.

While the record is intensely personal, there are plenty of universal themes. “Searching for the Truth” is for anyone who has ever felt heartbreak and “My Mind’s a Ship (that’s Going Down)” is about the lack of certainty we all feel as we make our way in the world.

Ultimately, all the themes are universal, because Pruitt does such a good job of inviting you in, it quickly feels like home. Don’t be afraid to go in there, either. Pruitt has created 10 powerful and songs sound painful on the surface, but deep down every one of them is about plain old love. And you don’t need a pair of bolt-cutters to access that. You just need three chords and the truth.

Best tracks: all tracks