A Dallas native now living near the same Nashville airport immortalized in the opening sequence of Robert Altman’s country music odyssey, Andrew Combs is a singer, songwriter, guitarist, and heir to that 1975 film’s idea of the Nashville troubadour as a kind of musical monk. Here in the twenty-first century whorl of digital narcissism, where identity can feel like a 24/7 social media soft-shoe performance, Combs makes music that does battle with the unsubtle. Like the pioneering color photographer William Eggleston, he sees the everyday and the commonplace as the surest paths to transcendence, and he understands intuitively that what is most obvious is often studded with the sacred. As a songwriter, Combs relies on meditative restraint rather than showy insistence to paint his canvases, a technique commensurate with his idea of nature as an overflowing spiritual wellspring. NPR music critic Ann Powers noted as much in a 2015 review: “His song-pictures are gorgeous, but he recognizes their impermanence as he sings.” This deeply felt sense of ecology, of the transient beauty within nature’s chaotic churn, lies at the heart of Combs’s approach to his art.
Erin and company released her full-length debut, Soon Enough, independently in the US in September 2015, receiving glowing support from long-time tastemakers at NPR music (All Songs Considered + year’s end “Songs We Love” list), Rolling Stone, The Fader, and more. The success of her independent release in the US lead Clubhouse Records UK to pick up and release Soon Enough across the pond in June 2016. With continued support from NPR, BBC, countless music bloggers, and support from fellows in the Nashville community like Margo Price, what might have been a blip on the indie radar has proved to be a career shaping record with life left in it, even a year later.
Google
Yahoo
Outlook
ical