Adia Victoria is an American author who currently resides in Nashville. She grew up in South Carolina in a strictly religious family. After her parents divorced, Adia turned to writing poetry and short stories. The road has taken her to New York and, subsequently, Atlanta, but she decided to let her hair down in Nashville.
Her debut is called Beyond the Bloodhounds. It is a reference to the autobiography Incidents In A Life Of A Slave Girl by an Afro-American author Harriet Jacobs. The album is conceptualized as a dedication to the past decade in Adia’s life. It’s the period she likes to write and sing about, the time when she was espoused to people-addiction and wrong decisions.
Today, Adia is aware of her background, both cultural and social. Lyrics advert to growing pains, relationship with parents and authorities in general. It is a struggle every young being goes through. Music style is an intriguing amalgam of rock, blues and country. Some have subscribed a Goth-country label to her music, something between PJ Harvey and Loretta Lynn. The album is permeated with blues matrix, but there are enough elements of country-rock to stir the pot and make a refreshing, tasty dish on the music table.
Adia Victoria wants to talk about the tacit; she is willing to shine a light on things that are hiding in the dark. She also wants to sing about awful facets of her persona. That’s why her story is authentic.
Dead Eyes is a bombastic blues number, perfect for an album opener. Adia has a straightforward approach to things, which can be heard in Stuck In The South, the first single that summarizes the record. In the middle of the album, And Then You Die and Howlin Shame radiate intimacy. Mexico Blues is a poignant ballade that circumscribes the structure and proves, once again, that this is an innovative and mature album.
Slay, Adia!
