Posts Tagged ‘Lilly Hiatt’

Lilly Hiatt’s new album Walking Proof may prove to one of 2020’s most universally relatable thanks to a single line on the chorus of “P-Town”: “Don’t you hate when people say it is what it is?” Unless you’re Joe Pesci in The Irishman and you’re adding in a contraction, there’s never a time when “it is what it is” benefits the person you’re saying it to: You’re better off with either a shrug. They’re useless gestures, but at least they’re transparently useless. Think about the last time you had a shitty day and an acquaintance told you that you were fated to have a shitty day, so you might as well accept the shit; you’ll find yourself wishing “P-Town” had existed at the time so you could shake off that flaccid old bromide with big, swaggering guitar riffs and swelling electric organ.

This is music to liberate yourself to-music that reminds listeners of Americana’s versatility as a genre and the palliative effects a good, expressive rock song can have on the soul. We’ve all taken a road trip that wound up going wrong, whether the kind of wrong where everything goes off the rails or the sort where everyone’s out of sync and nothing’s as fun as it’s supposed to be. That’s the heart of “P-Town” specifically, but the spiritual relief derived from rock ’n’ roll and Americana makes up Walking Proof’s whole. It’s baked into the record from start to finish: “I throw caution to the wind, and don’t give a damn,” Hiatt chimes on the record’s opener “Rae,” a twangy tune about the dual pleasures of pretending to be someone other than who you are and having someone in your life who knows you on a molecular level. There’s a caution to “Rae” in its first 45 or so seconds that belies Walking Proof’s prevailing confidence: Hiatt’s voice rings so quietly, so meekly, that for but a moment it feels like she’s tricking her audience. Walking Proof is, after all, neither quiet nor meek, though it does have its share of hushed tracks.

P-Town released on New West Records, 2020-01-31
Composer: Lilly Hiatt

Introducing...Lilly Hiatt & The Dropped Ponies.

It took Lilly Hiatt quite sometime to come to terms with her Nashville status. After her initial flee, she came to embrace the fact that home truly is where the heart is, and eventually returned to Tennesssee. Hiatt enjoyed some successes as a solo artist, including a shared stage with Emmylous Harris and Jim Lauderdale, as well as a guest appearance on the Craig Ferguson show. Upon her introduction to North Carolina guitarist, Beth Finney, a new beast began to form. Hiatt’s aching melodies combined with Finney’s tender yet turbulent guitar licks yielded a sound that the two were unable to find prior: women shedding their childhood skin and coming into the unraveled and emotional world of adulthood. Soon after, the girls hooked up with drummer John Radford (Charles Walker and the Dynamites, Drew Holcombe Band) and bass player Jake Bradley (Over the Rhine). The Pony Stampede had began. Since then, The Dropped Ponies have graced the stage of the Ryman, opened for Lyle Lovett, and enjoyed success over seas. They currently reside in Nashville, TN and are working on their debut album, “Let Down”. Produced by Doug Lancio (Patty Griffin, Gretchen Peters), the album is to be released in September.


Lilly Hiatt gets personal in Trinity Lane, an autobiographical album written during a period of self-reflection and renewal in her East Nashville apartment.

The daughter of John Hiatt, she keeps the family tradition alive, mixing Southern influences – Americana, folk and left-of-center country – with a raw approach that’s better suited to the garage than the saloon. The album’s title track is no exception. Written after a West Coast tour alongside John Moreland, the song finds Hiatt making peace with her old demons, while guitars crash and pianos chime in the background.

“I quit drinking when I was 27, and I felt so lonely for awhile,” she explains. “I didn’t really want to drink, but I’ve had all these coping mechanisms in the past, where instead of feeling my actual feelings, I’ve distracted myself with self-destructive activity. I don’t do that now. I’ve just been really healthy. For the first time in a really long time, I’ve found myself thinking, ‘Man, what would it be like if I drank now?’ Then I go through that thought process fully, and I realize what’s on the other end, and I accept that I’m feeling pretty damn good on my own. Finally!”

Produced by Shovels & Rope’s Michael Trent, “Trinity Lane” is an empowerment anthem stocked with details from Hiatt’s everyday life, from the name of her street to the smell of her neighbor’s cooking. The song’s video follows suit, offering a four-minute look into Hiatt’s home life. The clip finds Hiatt waking up, drinking coffee and eventually hitting the streets for a quick joyride. Along the way, we’re given glimpses of the music, friends and pets that fill her days. Her cat, Popsicle, makes more than a few appearances, as do records and cassette tapes by some of favorite artists, including Pearl Jam, Aaron Lee Tasjan and Little Feat.

Trinity Lane arrives August 25th, marking Hiatt’s first official release with New West Records. Although written in isolation, “By the time the guitar solo happens,” Hiatt insists, “I wanna be going over 50 miles per hour at least.”

“The night David Bowie died, I was in disbelief. I wanted to talk to someone, but it was too late to make a phone call. I cried quietly and went to bed. The next day, I picked up my guitar and hit record on Garage Band. I started to sing and those were the first words that came out. I felt like Bowie was giving me a little gift.” ~ Lilly Hiatt

From the new album ‘Trinity Lane,’ available August 25th