Album Review – Lilly Hiatt’s “Trinity Lane”
With her third record, second generation alt-country performer Lilly Hiatt has offered up a career-defining album full of songwriting gems and inspired performances that is spirited to the heights of infectious listening by smart and considerate production. This personal and galvanized work finds the full realization of Lilly Hiatt’s vision, voice, and potential as a songwriter and performer, stepping out of the shadow of a famous name, forging her own sound and identity, and announcing her participation in discussions of who is worthy of praise in a new generation of emerging artists energized by rock and country in equal measures.
Where Lilly’s first record Let Down was decidedly lo-fi and country-inspired—cool, but maybe still searching for her own sound—and the elevated songwriting of 2015’s Royal Blue was hindered somewhat by the foolish dalliances of indie-rock synth and unnecessarily harsh and distorted tones, Hiatt’s new record Trinity Lane gets it all just about right. Produced by Michael Trent of Shovel & Rope, it fearlessly imbibes in everything that is cool about alt-country, including much of the swagger that has been lost in the subgenre’s incorporation into Americana in recent years, while providing just enough country to keep a shit kicker keen.
The listening experience is defined by Lilly’s twangy vocals, delivered with confidence and attitude, even when singing about powerfully emotional heartbreak and turmoil. The emotion is heard, not implied, as she delves into capturing depressing moods on wax in what is very much a breakup record. Though we may never wish emotional calamity to befall our fondest music performers—and certainly many musicians over the years have proven tough times are not always a prerequisite for inspired art—it sure doesn’t hurt when tears and pain are powerfully conjured in lyrical phrases, with melodies and riffs exquisitely matched to the emotions in smart and powerful composition.
The tear-drenched nature of Lilly’s voice mixed with the swaying beat on the opening song “All Kinds Of People” is ideal for stirring emotion, while the half-time register in the chorus of the title track gives rise to the rawness and honesty in the songwriting.
A couple of moments come across a bit awkward on the record, like rhyming “home” with “home” on “I Wanna Go Home,” or the way the lyrics are scrunched into the payoff of “Different, I Guess,” even though it’s otherwise a great, heartbreaking country song, as is the forlorn steel guitar and snare brushes of “Imposter.”
Trinity Lane is not just a record for people who like music, but for those dedicated acolytes of the art form who would travel two states over for a festival, or fork out money to buy their favorite artist’s new record on vinyl the day of release. Whether it’s incorporating the time stamp of the day David Bowie died in an alt-country song, or one of Trinity Lane‘s standout songs called “Records,” this particular work doesn’t just speak to what it’s like to have your heart broken, it speaks to having music help you through those moments, and how it can act as the backdrop to certain memories.
Trinity Lane is named for the specific street where Lilly Hiatt resides. But beyond the emotional breakup that inspired this record, it also reminds the true music fan what a place apart music can be for the troubles of the mind and heart—where it can create intimate landscapes inside each of us to escape to. There is us, and then there is us when we are lost in those moments all to ourselves that only the best music can provide—music like the stuff found on Lilly Hiatt’s Trinity Lane.
1 3/4 Guns Up (8/10)
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September 24, 2017 @ 12:35 pm
I wanna be on board with this artist …and I am …but barely . Trigger , you can be an ” Artist’s” ( capital A ) best friend and this review illustrates that without question . I’m grateful hearing ANYTHING with a semblance of sincerity and authenticity in these troubled mainstream musical times and so in that regard ,I embrace Lily’s efforts here . Unfortunately the ‘ raw-ness’ and generic nature of the tracks posted are making that difficult for me . I don’t like the production on the first track at all …Her vocals ( often questionable pitch-wise but certainly listenable as opposed to many ) are awash in unnecessary reverb and the song lacks a dynamic arc musically . The same with the second track , although the vocals are nicely up front of that wall of band . For me , its reminiscent of Kim Richey’s stuff in the 90’s and OO’s ….polished by talent ..not by studio smoke and mirrors . And THIS , to my ear , is what has become a tad generic about the alt/Americana thing . Its all a bit too ‘ stylized ‘ by under stylizing , if that makes ANY sense . John Paul White’s latest album is a great example , I think , of relatively sparse studio-izing ..BUT the RIGHT stuff where and when its needed to add colour and character .
I know I should listen to more before ‘ gunning ‘ this one …so I will . Lyrically …OK …I’m there . But for me and with what I’m hearing here it seems to lack character musically and/or vocally . I know how difficult that is to cultivate with so much music and musical history out there …..still .
September 24, 2017 @ 1:21 pm
Albert your comments are fair enough. You listen from the point of view as a studio guy with the critique on sound quality and recording techniques. No issue with that. I tend to formulate reviews and opinions based on music knowledge of playing instruments coupled with going to hundreds of live shows and listening obsessively to music. That and I’m a voracious student of music history as I’m certain you are. I didn’t notice any glaring studio faults as I am limited in that area. I do like her twangy vocal style as I also like Nikki Lane , Loretta Lynn and others of that more raw folky style. Her songwriting seems decent. I don’t know that the album is gonna as be declared a masterpiece, not likely but based on what I hear I will see her live given the chance. Wouldn’t exactly say she’s country but your characterization of her as Americana is on target. There is a danger of her falling into the clichéd sound, you are correct. I’m a fan of her father’s work so I’m quite willing to give her a chance.
September 24, 2017 @ 3:48 pm
I thought the production of this record was one of its greatest assets, and I would encourage people to listen further than the two tracks posted. As I said in the review, I though Lilly’s previous record “Royal Blue” was the one that was hampered by the production. I was first introduced to her at SXSW a few years ago and was really impressed, but when “Royal Blue” came out, I thought it was hampered by the same foggy production we hear from many easy Nashville projects these days. Conversely, I thought that “Trinity Lane” was lively and energetic. I would use the term “raw” to describe her vocals as a synonym for “real,” not for poorly produced or pitchy.
September 24, 2017 @ 7:35 pm
I’m not suggesting that there are any ”glaring studio FAULTS ” , Kevin- sorry if my thoughts came off sounding like that . What I mean is that that what’s posted here sounds all-too-familiar in today’s productions outside of mainstream and perhaps a bit lacklustre overall ?…a bit under-produced …?
I alluded to John Paul White’s record as one that seems to hit the mark in terms of supporting the song/vocal in a smart , clean and still relatively sparse manner . Hey …each to his own . I absolutely LOVED Carl Jackson’s work on the Glen Campbell stuff ( for reference ). Knowing that kind of product is possible and available ( and NOT mainstream radio fare ) kind of makes me shake my head a little at some of the projects that seem a bit lacking in that department and , consequently , in showcasing a song / artist in the absolute BEST possible light . And I think anything too pitchy takes a listener out of the movie pretty quickly . Again …just my humble thoughts ,FWIW. I know John Hiatt was all about the stripped -down raw kind of approach , as are many many others , of course .
September 24, 2017 @ 1:40 pm
I enjoyed both songs. Gonna go over to Amazon to buy a track or two.
September 24, 2017 @ 3:38 pm
Not bad! But I think u should do a review on the new midland album!
September 24, 2017 @ 6:14 pm
Here’s my review…
Love the music.
Hate the marketing.
September 24, 2017 @ 4:34 pm
Thanks for this Trigger. Never heard of her, but now adding her album in spotify.
September 24, 2017 @ 5:32 pm
The second song is over-produced. That song would be a candidate for stripped-down treatment, just her voice and guitar. There’s a world of pathos out there in the women of that demographic. It should be heard.
With a tuner.
September 25, 2017 @ 2:41 am
The second half of the album is good. Her voice sounds much better on the slower songs like “Imposter”.
On My List: Fanny Lumsden – Real Class Act – 12 Tracks – Released (09/22)
Very good 2nd album. Young australian singer/songwriter with an alt-country/folk “less is more” sound.
September 25, 2017 @ 6:57 am
I’m glad to see this review here. And I agree that this is Lilly’s strongest album to date. Probably will be in my top ten this year. I’m rooting for her.
September 25, 2017 @ 7:28 am
The instrumentation on the second song sounds exactly like something her dad would do. I generally don’t want to listen to women, but I kind of like this.
September 25, 2017 @ 8:23 am
I’m quite skeptical when the offspring of talented famous artists make their own records. This album overcame my skepticism by the end of the first listen. I think the production is excellent. 8 out of 10 stars is a fair rating.
September 25, 2017 @ 8:52 am
i had zero problems with this record and the title track’s still stuck in my head after about a week. good stuff. i try to avoid judging alt country albums on recording quality. i understand that it’s not considered as important in this genre. i tend to focus on the content but that’s just me. i come from a noise pop/noise rock background so i can appreciate a bit of lo-fi when it happens, like that ridiculously fuzzed out first half of the last miranda lambert album.
September 25, 2017 @ 11:41 am
What is noise rock?
September 25, 2017 @ 8:14 pm
https://en.wikipedia.org/wiki/Noise_rock
https://www.youtube.com/results?search_query=noise+rock+playlist
https://rateyourmusic.com/list/JamesLovesWeirdness/top_50_noise_rock_albums/
September 25, 2017 @ 9:35 am
Thanks for the review.
I’ve never heard of her.
I can’t wait to give the whole CD a spin.
September 25, 2017 @ 10:49 am
Her music has always been interesting to me. I agree this is her best stuff yet.
September 25, 2017 @ 4:06 pm
I’ll give it a shot based on this review and the fact that she’s the daughter of one of my all-time favorite singer/songwriter musicians. John Hiatt is a treasure.
September 25, 2017 @ 5:56 pm
bought this after reading your review – listened to it all day at work, really dig it and agree with your thoughts
September 25, 2017 @ 6:06 pm
Any Deana Carter Fans still around???? They would like this album, that’s the sound and style she reminds me of.
September 26, 2017 @ 6:16 am
Trinity lane (the actual road) is pretty ghetto. I used to take it to and from work.
September 26, 2017 @ 8:45 am
Is this the lead character from Weeds?
September 26, 2017 @ 9:15 am
When I’m checking under the hood on a car I’m buying I want to see an ‘honest engine’–a reasonable amount of grit and grime, evidence of some TLC where needed, some signs that it’s got the power when needed.
I don’t want to see either a jumbled mess, or overly polished glitz.
Same for the production on an album.