Wrinkles and All
Published in Blog Archive, Villin. Tags: Interviews, Music, Nashville.
“I’m troubled by the industry convention that would require me to summarize my creative process in a dozen ‘fully baked’ songs,” explains Lizzy Ross, speaking to the “guts” of her still-expanding Naked in My Living Room release. “As if an album were a thesis to defend or a product with a warranty to uphold.” At the time of this article’s publication, Living Room is five songs deep, each track a single-take performance, capturing a “creative growth spurt” as it continues to unfold. “Most of all, it disturbs me when the need to present a perfect finished product gets in the way of continued creative expression, growth, and risk-taking,” she continues. “When the wrinkles are spared, they’re often my favorite part of a song.”
Born in Annapolis, Maryland (“perhaps the place where music goes to die”), Ross later relocated to Chapel Hill to study at the University of North Carolina. There she joined the short-lived “twangy indie rock band” Lafcadio in 2008, before forming the Lizzy Ross Band the following year. In 2010 she released a solo acoustic album called Traces, before hitting full stride with the group’s debut, Read Me Out Loud, in 2011. That year (and in 2012) Ross was nominated for “Best Rock Female” at the Carolina Music Awards, winning the honor the first time through. “They’re wonderful and fantastic,” she said of her bandmates last September, on the eve of both the break-up of the group and her departure from the state. “[T]his is definitely a band of people who are good to the core.” This past November she moved to Nashville.
“I released my most recent album over two years ago [and] at this point,” says Ross, “I’m feeling I’ve quite outgrown it.” With Living Room she hasn’t abandoned her band’s “country, blues, soul, and jazz-inflected Americana” sound, she’s just taken a filter off, letting the music of the moment flow from within and through her “electric rig” and RC-300 loop pedal. “I love the immediacy of a live performance,” she says. “I love the wholeness of a single take recording.”
They might only appear a series of rugged demos, but the weekly sessions do show the singer finding her footing, both in her new surroundings and once again as a solo artist. Whether compared to past solo recordings from a few months ago, or a few years ago, they exhibit an edge that seems to be getting sharper with time. There’s a comfort Ross seems to find in this evolution.
“Once a week, I come to terms with the disparity between how I sound and how I wish I sounded,” she says. “I find things to love about the way I play a song in that particular moment in time. I give a song my undivided attention and energy, we grow into each other, and I show the world our best collaboration of the moment.”
[This article was first published on Villin.net]