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Rhiannon Giddens – Tomorrow Is My Turn

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What does it sound like?:

Giddens’ voice rings as strong and true as the Liberty Bell. She is classically trained and is the front woman for the folk revivalists, The Carolina Chocolate Drops. Having stolen the show on Lost On The River: The New Basement Tapes, she is rewarded with this solo debut, backed by classy session musicians and a big name producer, T Bone Burnett.

Bravely, she chooses to cover ten songs written or made famous by some of the most inspirational female characters to strut a stage. Usually, a ‘show case’ like this collapses under the strain of attempting to demonstrate all of the artist’s diverse skills in a single album. However, the thread of a feminist message, the theme of updating the past and the fact that Giddens actually is good at everything, hold the album together beautifully. She really can subvert like Nina, stretch the heart-strings like Patsy, seduce like Dolly, testify with the joy of Sister Rosetta and burn the blues like Bessie. However, these aren’t mere copycat performances. They are fresh, cleared-eyed re-imaginings delivered with a warmth and subtlety that reach the emotional core of the songs. I sometimes find Burnett’s productions dry but even he sounds enraptured by her talent and charm.

What does it all *mean*?

A star is born. She sees herself as an interpreter rather than a writer. The closing original is slight but her contribution to Lost On The River suggests there is rather more to her writing than she thinks. In any case, her voice is very special.

Goes well with…

This is an album to share with friends, at dinner, over drinks, in the car, having a sandwich. I think it’s perfect for The Afterword. Spread the word.

Release Date:

Might suit people who like…

Odetta, a similarly classically trained interpreter of popular music, Raising Sand and determined women who stand up for themselves.

19

Comments

  2. The venn coincides again, Tiggs, this is one shit-hot bit o’ stuff. I fear the Odetta linkage may afear the young ‘uns, but, anything that opens up the field. T Bone (and his heritage musics rival, Joe Henry) really need major credit for their curatorship of US musics. All they touch turns to gold. (Well, nearly, the Stephen King one was a bit of a clunker…..)

    • I’m sorry but Odetta is something of a touchstone. Both she and Burnett have a connection to the past, their heritage. Giddens is of mixed race and relates to many cultures, forging a strong perception of self. These interpretations of others’ songs add up to a unique, robust identity.

      There aren’t many young uns here to scare off, retro. If there were, a bit of Odetta would do them good.

  4. Oh she’s good. If you ever get the chance to see her live, whether with the CCDs, with Layla or on her own, drop everything and go. Her presentation, the care that goes into the set list, the breadth of said set list and above all the sheer talent of voice and instrument. A second trusted endorsement for you Daddio!

    • It’s amazingly good, isn’t it! She can holler that work-song like Odetta but the soft touches in the verses are the most telling.

      Giddens is 37. She graduated as an opera singer in 2000. She’s been in The Carolina Chocolate Drops since 2005. How come it has taken so long for her to be noticed?

      • Thanks, Tigger. My new avatar has a bit more get up and go to it. It’s actually a fairly accurate picture of how I feel at the end of the last rainy day of half term.

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