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Rather than hailing this as a completely new sound for Amanda Shires, consider her work with her former Texas pop-rock band, Thrift Store Cowboys. Her new sound, which she deems “refreshing,” uses some of that style, elements of Neko Case, and the haunting, mystical lyrics that have defined Shires to this point to arrive at a more amped-up, powerful place. To the Sunset is unlike much of the work produced by Dave Cobb. It’s louder with distorted electric guitars, effects pedals, swirling keys and synths, and rocking rhythms upon which Shires’ soprano usually soars.
Shires, of course, has multiple roles as the fiddler/vocalist in husband Jason Isbell’s 4000 Unit, and as a mother of a toddler, in addition to her own songcraft and separate band. She comes to this record with a steam of momentum, having recently finished her Masters in Fine Arts and receiving The Americana Music Association’s 2017 Emerging Artist Award. Somehow, within the Isbell/Shires household, she found time late at night to pen these ten tunes, working with a stack of journals and an autoharp originally owned by acclaimed songwriter/producer Paul Kennerley.
Shires and Isbell both work with Cobb, who gathered drummer Jerry Pentecost, keyboardist Peter Levin, with Isbell on electric guitar while he played bass. Shires played her main instrument, the fiddle but added effects by using pedals for the first time, having some fun in the process. She also revisited an earlier song, “Swimmer,” creating different sonics with her fiddle to blend with Levin’s otherworldly keyboards. Shires goes for similar “atmosphere” in the new tunes like the captivating “Parking Lot Pirouette,” the eerie “Charms” and the wild, almost punk-like “Eve’s Daughter.”
Given the initial impetus to write songs from her former bandleader Billy Joe Shaver, Shires has been mentored by John Prine since moving to Nashville from Lubbock, TX. She says, “I was talking with John Prine while I was writing this record, and he was talking about how using images that actually happened to you makes the songs true. Also, if you use images that you can see daily, it’s more relatable.” That advice inspired “Break Out the Champagne,” wherein Shires recounts real life experiences that include a near-plane crash over Newfoundland, a best friend’s fears about our apocalyptic times, and another friend’s breakup, all told in Shires inimitable witty way.
As in all this album’s songs, and like so many other gifted songwriters this year who have shaped the female perspective, Shires takes her turn on “Take on the Dark.” an empowering cry in today’s world. Propelled by furious drumming and swirling synths, Shires sings lyrics like these – “Worry can be a tumbling tumultuous sea/with all its roaring and its breaking/How ‘bout you be the waves/too unafraid to even be brave/and see yourself breaking out of this place.”
The scarecrow imagery in the B3-driven “White Feather” is emblematic of fear and the all the ways we put up walls to protect ourselves. The song becomes a platform to also rail against climate change, capitalism, and sexism in a cleverly disguised way. “Mirror, Mirror” examines self-esteem while the guitar laden “Leave It Alone” gives weight to second thoughts.
The lives of her mother and father were the catalysts for some songs too including the album closer, “Wasn’t I Paying Attention?” with its gripping lyrics about mental illness and addiction sung over ferocious rock n’ roll. The album title may sound like a toast and that’s intentional. Shires says, “This day is over, we don’t know what’s in the future, but it’s hopeful, I think.”
Her lyrics here are as good, perhaps even a little better than her previous work but the listener must work harder to focus on them, given the mostly heavy sounds. Kudos to Shire for stretching out and moving in a new direction. Surely, the impact will be felt at her live shows too.
Photo by ElizavetaPorodina
