Somewhere

I can easily imagine Lissie as a folksinger in the 1960’s, singing at sit-ins and protest marches. She has a big voice, an ability to write big choruses, a tendency towards earnestness, and a prairie-girl sense of style. All of which would have put her right at home at Newport Folk Festival or a beat cafe in the Village. But Lissie is right at home right where she is. She’s comfortable enough strumming her guitar, but not afraid of some synths either. What I like about Lissie as an artist is that she doesn’t lean too heavily on any one thing. Yes, she can be earnest, but she can be witty and irreverent too. She can go all country and write something that sounds like a Faith Hill demo, but she can also turn around and do something that sounds more like Sylvan Esso. She can write a catchy-as-all-hell, stadium-ready chorus but then underplays it so it’s not all bombastic. Even her cowgirl vibes she comes by honestly: she’s from Iowa. She could probably sell a lot more records if she chose to squeeze herself entirely into one the many boxes that fit her, but she chooses to not choose a box. That’s really what makes her such an real and refreshing voice.