Harry Orme is charming on his cover of Que Sera Sera. Gorgeous guitar work highlights this updated iteration of a Doris Day classic. Orme is believable with a vintage delivery that settles into this classic design like a regular visitor. Modern vocalists tend to “over-sing” these iconic numbers, overlooking the songs trademark detail, that its all in the words and the melody and you need to stroll through it like a walk down the aisle.
Orme nails it, and enhances the sentiment with an in the moment performance where the guitar unravels in tandem with the songs progressive movements. Though involving an abundance of calculated complicated finger picking, he makes it sound easy. That effortless mark wasn’t lost on us. We’re buying in to this proper cover release in a time where we almost never celebrate remakes. Que Sera Sera is the real thing.
Harry Orme is featured now on our Emerging Folk Playlist.
Katie Martucci is blissful on her sweet single Poplar. This slow groove has summery urban appeal, like a walk through Central Park on a rare day off. An ode to a good friend, with chromatic drama it descends like our journey through life, That resonance that a soul mate brings, knowing that wherever you are, you are rooting for each other. Sentimental monuments that brought you together, now shared memories that bind you for life.
Martucci is smooth and sounds chipped off a jazz trend in the spirit of Norah Jones. It’s contemporary in appeal but innovative enough to garner indie love. The vocal presence is mixed bared and in the moment, like she’s playing in a small East Side club with a pro band that knows how to settle beneath her sultry command. Produced and arranged elegantly, its the pro standard that NPR demands, and should embellish. Poplar is undeniable.
Hear it now on our Emerging Folk Playlist.
The Morning Yells are inspiring on Ecclesiastes. This rodeo spiritual has classic folk roots. Slightly traditional but brought through the influence of mid 60s folk pop with an indie sensibility akin to Edward Sharpe or the Tallest Man On Earth. The lyrics paint a poor mans epic, a tribute to the commoner and his search for spiritual opium, that assurance that there’s something on the other side to justify his reckless abandon, just in case this saloon town turns sideways and he finds himself hurried to the hangman.
The singer has the proper pioneer swagger to sell this story to a city skeptic, or bring it back from this metaphorical Hollywood that updates this classic tale to meet todays layout. The lyrical bounty is enough on its own, but the period perfect production gives Ecclesiastes crossover appeal with breakout potential. The call and response vintage backing vocals are infectious, and the groovy arrangements gets your knees knocking. If the Morning Yells can sell it live, they’ve got an emphatic hoe-down sure to keep the crowds coming back for more.
Say it an’t so, hear Ecclesiastes now on our Emerging Folk Playlist.
Emma Mae Stone charters the waters between indie folk and dream pop on her instant classic Porch Song. Stacked vocals bring an ethereal presence, illuminating her soft vocal texture and transforming it big. Almost navigating too far into singer songwriter purgatory, timely chord shifts bring indie appeal, an element of surprise trademarked by the ethos of “indie as genre.” Emma Mae Stone embraces that clever compositional flare known to Phoebe Bridgers and Samia. She also embraces classic dream pop influences like Hope Sandoval.
Porch Song blends both words, committing to a vibe but alarming you with edgy lyrics that catch you off guard from line one. Edgy, but approachable in the spirit of the songs acquired meaning. Slightly sad but at peace with it in this moment. Just another graceful evening beneath the porch, rehashing everything that is with the serenity to know you can’t control all of it.
Dig into Porch Song now on our Emerging Folk Playlist.
The Wild Is Calling 