Anna Mitchell is a singer/songwriter based in Cork, Ireland, and she’s released an astonishingly beautiful album. Her self-titled Anna Mitchell dropped in January, and it’s as close to perfection as any recent album I’ve heard. This is Anna’s second studio album, which follows her 2015 debut effort Down to the Bone. With a lot of albums, it can take a couple of listens for the music to grow on me, but with Anna Mitchell I was blown away the moment I heard it. Each new track was a revelation, leading me to quickly recognize that here was an exceptional work of musical art.
Drawing inspiration from some of the best singers and songwriters in music – including Joni Mitchell, Emmylou Harris, Bonnie Raitt, Linda Ronstadt, Ray LaMontagne, Stevie Nicks, Tim O’ Brien, Bob Dylan, Shawn Colvin and Gillian Welch – Anna melds folk, country, Americana, rock’n’roll, pop and blues influences to create exquisite songs that speak to oft-covered subjects of love and relationships, and the joy and pain they bring. Her strong, clear vocals could easily go toe to toe with many of the aforementioned singers. The album was recorded independently, with musical assistance from well known Irish musicians Davie Ryan on drums, Brian Hassett on bass and Alan Comerford on guitar. It was engineered and co-produced by Brendan Fennessy.
Anna Mitchell opens with the gorgeous ballad “All These Things.” Anna immediately casts us under her spell with captivating vocals that seem to float and soar above layers of stunning, richly-textured guitars and a humming bass line. Davie Ryan provides just the right amount of percussion, and the lush horns add a jazzy flourish later in the track. The song’s unusual video is extraordinary:
Anna dials up the tempo on “It Pours,” a great pop-rock song with the kind of strong driving beat that I love. The bluesy guitars are terrific, and Anna’s sultry vocals turn passionate as she admonishes one to stop whining and start living: “Hold your tongue, hold your tongue, I’m not listening. You’re not the only one with sadness or sin. I feel the weight of the world creepin’ in. And if you don’t start kicking you won’t stop sinking. It pours outta you, outta you.” The trippy video shows blacklit images of faces painted with phosphorescent colors in the dark.
“Radio Waves” is a lovely but bittersweet Country-rock song with slide guitar, piano and organ as the primary instruments. Anna earnestly sings of escaping from life’s troubles through music: “Radio waves, audio slave, turn me up ’cause I’m down.” On “Never Learn,” Anna’s smooth vocals are accompanied by a bewitching piano melody as she tells someone their broken relationship is beyond repair: “You can waste your time, but keep your hands off mine. Past the point of no return.” Staying with that theme, on the Country-rock track “Get Out” Anna tells a man in no uncertain terms that she’s through with him: “It would be nice to stop and chat, but I don’t like you. Well they say that you’re a really good catch, but I don’t want you / Do you just feel like a man when you shout? Oh, get out! Just get out!”
One of my favorite songs is the rousing foot-stomper “Dog Track.” Thanks to heavy, distorted electric guitar, buzzing bass and pounding drum beat, the track’s harder and edgier than the others. And like the music, Anna’s echoed vocals are more aggressive as she snarls the lyrics about a guy she finds attractive who’s also bad news: “Is that a wolf howlin’ or is it just the wind? Well I met him down at the dog track. He was walking around like he was on the attack.”
Anna’s impressive songwriting talents are showcased on the melodically complex “Better Life.” The mysterious and powerful song features a strong bass line overlain with tremolo-heavy guitars and an array of instruments, including piano, slide guitar, organ, violin, and drums. “Slice of the Pie” is a call for respect for the working class in their struggle to make a living: “You don’t judge a man, just by the way he found to feed his children. Everybody wants a slice of the pie. They’re just like you and I, trying to get by.” The album closes with Anna acknowledging she was wrong, asking her man to “Come Home.” She teases: “I like your bedside manner / Come home, when you coming back to me?”
Anna Mitchell is a phenomenal album that needs to be heard by as many ears as possible. I’m so glad Anna reached out to me, and I’m thrilled to do what I can help promote her and her incredible music.
Those of you in Ireland can see Anna and her band at one of these upcoming shows:
Saturday, February 10 Levi’s Corner House, Ballydehob 8 PM
Friday, February 16 Whelan’s, Dublin 8 PM
Sunday, February 18 John Cleer’s Bar & Theatre, Kilkenny 8 PM