Lizzie Wilson – EP Review

Although the team at FTCR are prone to the sticking the boot in when Kid Rock and Florida Georgia Line releases pretty much anything, we’ve often gone against the grain and delivered blunt but well explained and justified criticisms of much lauded, award winning names such as Blake Shelton, Cole Swindell and many more. However what can get overlooked is we like doing the music hipster thing. By that, I mean the feeling you get when you feature who (at the time at least) is a relatively unknown artist who then goes on to big things.

We get submissions all the time from talented singer/songwriters who may have been ignored by much larger blogs. Although we are very much focused on the US market, which is why we get a little annoyed when we are described as a ‘UK Country Music Blog’, we try and feature up and coming British country music artists. I guess those of you reading state-side won’t have much of an idea over what goes on across the pond. For those who went to the pop up stages at C2C over the years will know there is quite a depth of talent in the UK country scene. However there is only a select few that have tried to build bridges in Nashville. For those who don’t have the benefit of large scale backing afforded to The Shires, the likes of Dexeter and Sasha McVeigh are making their own inroads in Nashville, employing excellent management with the former and sheer determination (and good management) with the latter.

Today I am featuring the self titled debut EP by the lovely Lizzie Wilson. Having known Lizzie for a couple of years now, I know this EP has been a long time in the making, so needless to say it ended up in the FTCR inbox.

The opening line of the first track ‘Do You Think About Me’ in many ways sums up the struggles that Lizzie and indeed many others go through in pursuit of their craft or indeed life. ‘I trip, I fall under the weight of it all, but there is no one there to catch me.’ Breaking into the chorus, it’s straight out of the early Taylor Swift book of lovestruck daydreaming. ‘I’ve been thinking about you, in the pouring rain…just waiting for the day you sweep me off my feet…do you think about me too’; the Taylor-esque influence doesn’t come as a surprise admittedly. The electric guitar solo gives the song a nice hook and a bit of depth. However the closing verses puts a twist on the idyllic love story ‘I once said that I needed you, but now I don’t…now I’m better and I’m gone‘. Vocally Lizzie has always sounded very easy on the ears and draws out the words for added affect. The studio production makes gives ‘Do You Think About Me’ a lot of potential radio appeal, so it’s no surprise it’s the lead single.

The next track is an absolute beauty, ‘Ask Me To Stay’ written with with Megan O’Neill. The funny thing is Lizzie herself told me I’d like it, but such is my wish not to be predictable I waited until I listened to the whole record. I’ve known for a while that Lizzie is a talented songwriter, our very own country superstar Amy Westney has written with her as well as quite a few others both in the UK country scene but also the US, and I feel this ability as well as Megan’s really comes to the fore here. With a harrowing mix of self loathing and a want to be loved, it will touch the hearts of many who have felt that way at some point in their lives, and that fundamentally is what country music is all about.

‘I’ve got a habit, of bad judgement calls…I let my walls down but never for long, and I won’t let you know that I’m not that strong….I’m always looking for goodbye…I’m trying to find a change, so maybe you can ask me to stay’. I love the piano intro into the song which sets the sombre tone, but the chorus takes it up a notch which makes you pay attention. Vocally Lizzie pushes herself a little more then in the first track.

Co-writing is common practice in country music, and for me it’s a good thing, it allows writers to merge their talents together and create something more unique. However as I mentioned, Lizzie is more than capable of writing her own songs.

‘Infinity’ is a fine way of describing a moment you don’t want to end, taking it way down, this song surely has to go down as the most romantic one night stand ever. ‘That first kiss took my breathe away, and wish I had the chance to stay in our own infinity…come morning light, like a bird taking flight you won’t be here anymore’. Lizzie displays that sense of vulnerability which again retains the ability for listeners to relate to their own experiences within the song. Also vocally it brings out the best in Lizzie.

The opening chords of ‘The Way You Lie’ reminded me a little of Lady Antebellum. Written with an Irish chap by the name of Alex Jordan who got lost in London for a few years and appears to still be there, Lizzie takes on a slightly dark almost sinister tone to her voice which is a nice twist, ‘I wish I had something nice to say, but I can’t get up and turn and walk away, we got these problems that time won’t fix.’ The way in which she delivers those lines gives hint to a little fire in her eyes that I certainly didn’t associate with Lizzie when I first heard her songs. Reflecting over a breakdown of a friendship, which in some cases can be as painful as a relationship breakup, Lizzie reflects on the good times, ‘You were my Thelma and I was your Louise, causing trouble since we were 13‘ then there is the switch into the present, ‘You twist the knife deep into my soul…I see you throwing stones on your high horse.’ The chorus comes with a straight out of Nashville sounding ‘Darling It ain’t pretty the way that you lie.’ The more edgy sound is perhaps an influence of the co-writer involved, the guitar solo although a feature on many a country song integrates well, and as I said presents a different side to Lizzie.

The final track on the EP ‘Living Out Loud’ brings out what I perceive to be the more bubbly outgoing side that is more common in Lizzie, I could be horribly wrong, but she hasn’t shot anyone and caused an ‘Essex County Affair’ so I guess I’m good. This was written with Payton Taylor who herself is starting to make herself known within Nashville circles. Giving off a distinctive American feel, Lizzie’s willingness go out of the comfort zone that is the UK country scene and connect with singer songwriters in Nashville, a little like Sasha McVeigh has done, employing her own personal writing talent along with those both side of the Atlantic, means she has been able to provide a little variety in her sound.

Overall this is a very promising EP from Lizzie Wilson, and with a released EP now in her catalogue, she perhaps has more of a compelling case when it comes to selections at the pop up stages for C2C. Still, I think Lizzie knows herself, Nashville is where the jackpot is and in continuing to interact and create music with artists from Nashville and also the grey skies in Blighty she is doing the right thing.

Without having a mega record label budget, the EP sounds as well produced as many label releases, adding depth when needed but not overshadowing her vocals with the instrumentals. Vocally Lizzie sounds more confident than when I first listened to her around 2 years ago, while at the same I feel she has the potential to push herself in that regard, as I feel she has more to give. In a way an EP is meant to provide an idea of what’s to come in the future. Lizzie’s song-writing talent is evident, her ability to convey her experiences in a forthright manner is refreshing, and for once I didn’t have to spend hours looking for overly clever and well-hidden subliminal meanings.

As with many artists trying to make their way musically she’s probably suffered a few setbacks, so although I’d hope any more are few and far between, at least she’ll write a song about it.

Originally posted here.