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Prose and Consciousness

Blending the intense folk undertones of Kurt Cobain with the jangly style of Phoebe Bridgers and boygenius, the Good Graces make ‘90s resurgence-style indie-folk music for real music fans. At the heart of the Good Graces is songwriter, singer and guitarist Kim Ware, with a cast of interchanging band members on lead guitar, banjo, mandolin, steel guitar and piano.

Prose and Consciousness (Potluck, 2019) is an exercise in honest songwriting. Consciously eschewing break-up songs, Kim Ware has penned songs tapping into her relationship with herself as a whole human being, with a dawning exploration of the meaning of life. The approach on this album is less atmospheric and more focused on the songs than the Good Graces’ previous work. Showcasing Ware’s open lyrical style, Prose and Consciousness tackles the challenge of accepting life’s uncertainties head-on.

Recorded in Marietta, Georgia at the Green House Studio, the album was tracked in four live sessions. The songs include a little banjo without being bluegrass, and a whole heap of acoustic guitar without being campfire folk. There’s pedal steel and harmonica as well, all in balanced proportion to indie rock beats.

“This album represents honesty. It’s really important to put something out that is honest and real,” Ware says. “I used to feel strongly that my songs needed to have a clear point, but we can’t always come away with a clear answer in life. These songs reflect that realization.” “Wants + Needs” is the centerpiece of the album’s style. With lyrics like: “I need to behave but I want to be bad. Do you ever get caught in between?” it captures that realization of life’s uncertainty in abundance.

Ware was given the title for the song “His Name Was the Color That I Loved” as a member of a songwriter’s group, with a challenge to write a song to it. “It didn’t start out being autobiographical, but then it turned out to be about my Dad, and times we would take a walk after a frost to look at the buds to see if they were still frozen, to see if the crops would survive. Writing this way pushes me to write outside my typical subject matter.” With lines like “nothing is certain except that we don’t know,” the Good Graces accept being okay with that as we come to terms with our place in the universe.

“Blood Orange Moon Shot” uses heartbeat-paced rhythms on acoustic guitar to set the tone before opening out into brighter sonic spaciousness. Pedal steel and guitar trade-offs create a hypnotic effect on “Story To Tell.” And “Three” offers harmonica in the folk-indie mix.

Synthesizing influences from Liz Phair to Lori McKenna and Lydia Loveless, Ware’s Southern twang and straightforward, confessional lyrical style are at the forefront of the songs, while the recording honors more recent production values. Punctuating songs with sonic upswells and subtle embellishments, this is folk music at heart with all the indie trimmings.

The layered musical arrangements are due to multi-instrumentalist Kim Ware’s musical sensibilities. Ware learned the drums as a child and performed in bands through her 20s, only turning to guitar after she was powerfully drawn to purchase one in Atlanta’s Lakewood flea market. It was a match made in heaven, with the songs fairly tumbling out in quick succession. After several EPs and the Good Graces’ albums Drawn to You (2013) and Close to the Sun (2014), a connection with Jonny Daly accelerated the musical pace and led to the more recent Set Your Sights (2017) and The Hummingbird EP (2018).

With Prose and Consciousness, the Good Graces are clearly branching into new territory both lyrically and sonically from their roots in the soil of their still-recognizable signature musical style.

“Ware maintains the heart-on-your-sleeve, emotional rollercoaster class of writing she proliferates on her previous albums.” – Noisey

“I really hope my midlife crisis sounds this good.” – No Depression

“…a knack for candid, unsweetened lyrics delivered with a winsome voice and a front porch relatability.” – Stomp and Stammer

“Filled with atmospheric Americana and lush indie-folk tracks…” – No Depression

“…subject matter and phrasing are clever, unique, and tell a story.” – Dopecausewesaid

“…delicate, warbling indie-folk and jangling roots pop.” – Verbicide

Like a fine Kentucky bourbon, the Louisville band Bridge 19 has come of age with its new album In the Afterglow. Mature and bold but sweet and satisfying, Bridge 19 offers it most revealing and meaningful songs to date.  

Through lush, polished vocal harmonies, frontwomen Audrey Cecil and Amanda Lucas sing about serious, timely topics while ensuring that their songs remain charming and fun. Using moody electric guitars, horns, accordion, pedal steel, and drums, Bridge 19 presents riffs that bend and blend genres. Touches of Americana, lively pop, vintage Nashville, Motown, singer-songwriter, and even disco float from song to song. You’ll want to dance and sing along.

“In the Afterglow” is the third full-length album for a five-person band that has been entertaining live audiences and garnering critical acclaim since 2007, when Lucas and Cecil first began performing together.

Bridge 19 has shared stages with Brandi Carlile, Dr. Dog, Langhorn Slim, Sarah McLachlan, Asleep at the Wheel, Richard Thompson and more. The band has been booked at major music festivals, including MidPoint, RiverRoots, FreeFall, Lilith Fair and the International Folk Festival.

Bridge 19 has also been featured on nationally syndicated NPR and was ranked No. 1 in Thrillist’s “Top Louisville Bands You Need to Hear.” “Riding on a Wire,” the band’s last full-length release, was ranked No. 14 in Louisville AAA station WFPK’s 100 Best Albums of 2015, and Bridge 19 was a finalist for Folk Artist of the Year at the 2015 Louisville Music Awards.

Lucas and Cecil’s vocal harmonies have always been a cornerstone of Bridge 19, and they guide song after song on “In the Afterglow.” Lucas and Cecil’s soulful singing is reminiscent of female Americana duos like the Secret Sisters and the Watson Twins. Bridge 19’s leaders aren’t related by blood, though their effortless melodies might make you think they are.

In fact, Lucas and Cecil have been close friends for most of their lives, and that trust and comfort enables them to push past vulnerabilities and dig deep. Together, they craft songs that explore love, loss, addiction, heartache, anxiety, fear, joy and desire.

“We know what each other is thinking or means at all times,” Lucas said. “It’s challenging to write music with somebody, but I don’t find it challenging to write with Audrey because we know each other so well.”

Long before they were bandmates, Lucas and Cecil were teammates – beginning as 10-year-olds and continuing through high school on a traveling youth softball club.

They lost touch somewhat when they went to different colleges to play ball, but unbeknownst to each other at the time, they took parallel paths in becoming self-taught musicians, learning to play guitar and write songs. They discovered each other’s work on MySpace – music’s go-to digital platform at the time. After Cecil invited Lucas to practice with a band she was in, they hit it off and began performing as a duo.

They became Bridge 19 and have added band members over the years; the current lineup has been in place since 2014. In addition to Cecil on lead guitar and Lucas on rhythm guitar or handheld percussion, Bridge 19 features Joey Thieman (horns, accordion), Meg Samples (drums), Jeff Faith (bass). Over the years, they’ve reached a new height in their art, a reckoning with self and society that can only come with age and experience.

The new album’s first track and first single is #MeToo-inspired “The One,” arguably Bridge 19’s most overt social commentary. Lucas and Cecil wrote it after hearing the courageous courtroom statements of the survivors of serial sexual predator Larry Nassar, the former USA Gymnastics team doctor. “The One” contains haunting lyrics while using a pedal steel guitar and catchy drumbeat to combine sounds of Americana, vintage Nashville and pop. The song is presented from the perspective of a perpetrator who is stalking a woman, imagining a sense of entitlement and privilege to excuse such vile behavior.

Other songs include the high-energy soul track “The Truth,” which a danceable Motown throwback; the slow, heartrending “Diamonds;” and the surprising disco tune, “Breakdown,” which is about an overly emotional crush who comes on too strong. Meanwhile, “Get Back in Bed” is a simple, country love ballad about longing to avoid the harshness of the world outside.

“In the Afterglow” was recorded with engineer Anne Gauthier at Louisville’s acclaimed La La Land Studio, where My Morning Jacket, Ray Lamontagne and many other popular acts, including Louisville-based White Reaper and Murder by Death, have recorded.

Bridge 19 is on tour now in support of “In the Afterglow,” and music videos of “The One” and “The Truth” are available on YouTube and at Bridge19.com.

This band is already well-established as a celebrated member of Louisville’s music scene. With its socially conscious new record, Bridge 19 is poised for an even greater breakthrough.

Social Media:

https://www.facebook.com/bridge19/

https://twitter.com/bridge19music

https://bridge19.bandcamp.com/