With the unexpected mainstream success of Alison Krauss, the O Brother, Where Art Thou? soundtrack and adult contemporary juggernaut Norah Jones, the stage seems to be set for Jolie Holland. The Texas-born singer/songwriter plays simple, polished folk songs that sound like direct descendants of Leadbelly and Hank Williams, delivered with the jazzy flair of a ‘30s lounge singer.
Holland’s second album, Escondida, is filled with old-time mountain music – songs that wouldn’t be out of place in a Hooverville jam session – recorded with few flourishes. Most of the tracks offer nothing but Holland’s faint acoustic guitar and thin, mournful voice, trusting the lyrics and chords to carry all the weight. For the most part, they’re not up to the task. Holland’s not quite as comatose as Jones, whose albums work like horse tranquilizers, but Escondida is filled with sonic valleys, and the peaks are few and far between. It’s like a trip through Iowa: occasionally pretty, but mostly dull, plodding and unsurprising.
Songs like “Goodbye California” and “Darlin Ukelele” suffer from rudimentary country structures and a total lack of dynamics. Holland has shown a knack for writing songs, which she displayed in her band the Be Good Tanyas, but here she’s caught in some stale, dreary headspace. There are a few bright spots, like “Tiny Idyll/Lil Missy,” which benefits from a jazz arrangement and a tasteful trumpet solo, and the closing “Faded Coat Of Blue,” a spirited rendition of a traditional Civil War song. Holland’s fascination for the resilient spirit of Americana is apparent here; it shows what she can do with a classic melody and lyrics full of 19th century pride.
On paper, Jolie Holland has the tools to sell records and win awards. Her inoffensive blend of roots music and smoky jazz has great potential, which makes Escondida all the more disappointing.
Appeared in Issue Eight of Traffic East.