BRIGID MAE POWER – ” Brigid Mae Power “

Posted: February 23, 2020 in ALBUMS, MUSIC
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Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. The album is about “trusting if you lose yourself or your way — you can come back.”

Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

Ireland’s Brigid Mae Power (fka Brigid Power Ryce) released her first album under her current name and first for the esteemed Tompkins Square Label last month. Brigid’s a new-ish artist, but her music recalls the type of forgotten-then-rediscovered ’60s/’70s folk artists that Tompkins Square often reissues music by, like Bob Brown and Michael Chapman. Brigid played accordion, baritone ukulele, piano and harmonium on the album, and her talents are even more fleshed out by the production work of Peter Broderick (Efterklang, Horse Feathers). She’d played shows with Peter and also collaborated with him live, and eventually ended up in his studio in Oregon to record the new album.


All the arrangements give the album a gorgeous backdrop, but it’s Brigid’s voice that drives this thing home. She’s similar in approach to Jessica Pratt or earlier Angel Olsen, with a sound that really taps into what made that ’60s/’70s era so great without sounding retro. The album’s opening (and longest) song, “It’s Clearing Now,” nears eight minutes and never really drifts from its somber tone, and Brigid has enough command over it to keep it from ever getting boring

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