Liz Longley with Brian Wright | April, 17 2015

About Liz

Longley has a gift for culling musical treasures as though straight from thin air. And now, the Berklee College of Music graduate and award-winning songwriter is set to share them with listeners on her self-titled album-her first after signing with Sugar Hill Records in December 2014.

The collection of 11 songs was recorded in Nashville with an all-pro band-and in a pulse-quickening fashion so rare in today’s world of overproduced, airbrushed records. “I love being in the studio and feeding off the energy of other musicians. It’s not something I get to do often on the road because I’ve mostly toured solo.”

While Longley’s songs and vocals invite complimentary comparisons to Shawn Colvin, Paula Cole and Nanci Griffith-all artists she’s supported live-her latest effort spotlights a style and confidence that’s all her own. You can hear it in the subtle-yet-soaring vocals on “Memphis,” the dagger directness of “Skin and Bones,” the bittersweet farewell that drives “This Is Not the End” (featured in the 2012 season finale of Lifetime’s Army Wives). They’re all cuts that dare you to hold back the goosebumps.

About Brian

Sugar Hill Records is proud to continue its legacy of incredible songwriters with the release of Brian Wright’s House on Fire – due out March 29th. While this is the first label release from the Waco, TX native, he has built a firm base of fans within and beyond the music industry with two previous releases and tireless touring in the US and Europe. Unlike previous releases, which were both recorded in the studio with a band, House on Fire approaches the recording process in a much more relaxed and reflective manner, with Wright playing every instrument himself and handpicking his prolifically written songs into a mindful, well-curated collection.

And make no mistake, this album truly is about the songs. Gems like “Mean ol’ Wind” and “Live Again” convey the tenderness of the soul which very few songwriters can capture. “Striking Matches” and “The Good Dr.” bring the driving sound of a cross-country bound train, bound for heartache or redemption. “Maria Sugarcane” paints with a Southern Gothic brush that would make Flannery O’Connor proud.

“When people ask what I sound like, I usually say I’m somewhere between Woody Guthrie and Velvet Underground,” says Wright. “This album finally allowed me to make the music the exact way it was in my head.”

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