The stunning, self-titled fourth album from the Kentucky singer, songwriter, and guitarist Joan Shelley began, surprisingly, with a fiddle. In the summer of 2014, Shelley fell for “Hog of the Forsaken,” a bowed rollick at the end of Michael Hurley’s wayward folk circus, Long Journey, then nearly forty years old. Hurley’s voice, it seemed to Shelley, clung to the fiddle’s melody, dipping where it dipped and climbing where it climbed. This was a small, significant revelation, prompting the guitarist to trade temporarily six strings for four and, as she puts it, “try to play like Michael.” That is, she wanted to sing what she played, to play what she sang. She tried it, for a spell, with the fiddle. “Turns out, I wasn’t very good at fiddle,” remembers Shelley, chuckling. “But I took that idea back to the guitar and tried that same method. I did it as a game to make these songs, a way to find another access point.”But that wasn’t the end of the trials. After collaborating and touring with ace guitarist Nathan Salsburg for so many years, Shelley decided to put her entire guitar approach to the test, too. Each day, she would twist and turn into a different tuning, letting her fingers fumble along the strings until the start of a tune began to emerge. After playing the songs of her phenomenal third album, the acclaimed Over and Even, so many nights during so many shows, the trick pushed her hands out of her habits and into a short, productive span that yielded most ofJoan Shelley. It’s fitting that the set is self-titled. These are, after all, Shelley’s most assured and complete thoughts to date, with lyrics as subtle and sensitive as her peerless voice and a band that offers support through restraint and nuance. In eleven songs, this is the sound of Joan Shelley emerging as one of music’s most expressive emotional syndicates.To get there, Shelley had a little more help than usual. In December 2016, she headed a few hours north to Chicago, where she and Salsburg joined Jeff Tweedy in Wilco’s Loft studio for five days. Spencer Tweedy, home from college, joined on drums, while James Elkington (a collaborator to both Tweedy and Salsburg) shifted between piano and resonator guitar. Jeff added electric accents and some bass, but mostly, he helped the band stay out of its own way. “He was protecting the songs. He was stopping us before we went too far.” she says.
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The stunning, self-titled fourth album from the Kentucky singer, songwriter, and guitarist Joan Shelley began, surprisingly, with a fiddle. In the summer of 2014, Shelley fell for “Hog of the Forsaken,” a bowed rollick at the end of Michael Hurley’s wayward folk circus, Long Journey, then nearly forty years old. Hurley’s voice, it seemed to Shelley, clung to the fiddle’s melody, dipping where it dipped and climbing where it climbed. This was a small, significant revelation, prompting the guitarist to trade temporarily six strings for four and, as she puts it, “try to play like Michael.” That is, she wanted to sing what she played, to play what she sang. She tried it, for a spell, with the fiddle. “Turns out, I wasn’t very good at fiddle,” remembers Shelley, chuckling. “But I took that idea back to the guitar and tried that same method. I did it as a game to make these songs, a way to find another access point.”But that wasn’t the end of the trials. After collaborating and touring with ace guitarist Nathan Salsburg for so many years, Shelley decided to put her entire guitar approach to the test, too. Each day, she would twist and turn into a different tuning, letting her fingers fumble along the strings until the start of a tune began to emerge. After playing the songs of her phenomenal third album, the acclaimed Over and Even, so many nights during so many shows, the trick pushed her hands out of her habits and into a short, productive span that yielded most ofJoan Shelley. It’s fitting that the set is self-titled. These are, after all, Shelley’s most assured and complete thoughts to date, with lyrics as subtle and sensitive as her peerless voice and a band that offers support through restraint and nuance. In eleven songs, this is the sound of Joan Shelley emerging as one of music’s most expressive emotional syndicates.To get there, Shelley had a little more help than usual. In December 2016, she headed a few hours north to Chicago, where she and Salsburg joined Jeff Tweedy in Wilco’s Loft studio for five days. Spencer Tweedy, home from college, joined on drums, while James Elkington (a collaborator to both Tweedy and Salsburg) shifted between piano and resonator guitar. Jeff added electric accents and some bass, but mostly, he helped the band stay out of its own way. “He was protecting the songs. He was stopping us before we went too far.” she says.
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