The singer's latest, "A Cache in the Warehouse Floor," reflects gains and losses, swinging from heartbroken balladry ("Broken Down") to the brassy, full-throated exultations of the horn-spiked "Give It Time." This evening's record release show—featuring a full backing band—is a prime opportunity to listen in as the pianist exorcises her demons.
About equal parts Shawn Colvin (vocal beauty, heartland roots), Tori Amos (pianistic punch) and Maria Muldaur (bluesy buzz), Hurd displays plenty of charm and chops. In a clear, strong voice, with perfect but unfussy diction, she sings well-made songs. Her sturdy piano style echoes pop styles, New Orleans jelly-roll and playful Vince Guaraldi light jazz.
If it’s not an oxymoron, I like the sense of understated urgency in Emily Hurd’s voice. Now, sure there’s more than a touch of Janis in it, but Emily’s is a more controlled instrument. Maybe that’s what’s so intriguing—sensing that she could belt it out like Big Mama Thornton but she chooses not to—for the most part. It’s good stuff. She plays the piano, she sings, she writes some really good tunes.
Make A Bed” uses that organ and guitar to deliver a bit of a gospel sound. “Give It Time” works a little harder, with a nice horn chart that sounds like it came from Muscle Shoals.
Janis Joplinesque...Emily is a favorite of mine.
The record is built around Hurd's brassy pipes and spirited piano playing, which waltzes and struts like a coy suitor on "I Don't Know How to Leave You Alone" and swings like a Prohibition-era speak-easy on "Taxes." The songs touch on universal themes of love and loneliness, Hurd belting like Russian-American piano-pop diva Regina Spektor on "Prove Me Wrong" and exhaling the words like hazy smoke rings on "Just In Case."
Recorded live in just under five hours one afternoon this past April at North Branch Studios, the album maintains the teetering-on-the-edge vibe of a live performance.
Rockford native, Emily Hurd, is captivating on stage. Her wide vocal range, light fingers and clever lyrics aren't the only reasons why she's become a regular on the Chicago music scene. The way she wails through songs of love and loneliness with such emotion has gotten the Windy City buzzing.
CD Review, Bloodshot Records:
Old Town School of Folk Music Songbook Vols. 2 & 3
Like an Old Testament of folk music, these compilations — 42 songs in all — are both celebration and preservation. . . . Emily Hurd's menacing piano rendition of "Hard Travelin'" breathes hobo bravado and travelin' blues . . . .
The Barefoot Session, CDBaby . . .
Emily is one of the best up and coming singer/songwriters out there. I've had the opportunity to see her live many times and although this CD is Awesome, she is even better live. If you get the chance I highly recommend seeing her!
The Barefoot Session, a self-produced collection, is the 27-year-old’s third album and has caught the attention of radio stations across the globe. To say Hurd is up-and-coming would be an understatement. She’s no stranger to singing with the gusto that made Janis Joplin a legend, nor is she afraid to hold back while dynamically articulating each message. Hurd’s arrangements are punchy and fresh, and reminiscent of classic jazz, blues and folk. The 13 songs that make up the new album were chosen well, creating a true, well-thought tapestry, containing no throwaways or space-fillers.
Emily Hurd presented impeccably crafted songs
Singer-songwriter Emily Hurd’s four-song demo is an enticing preview for her full-length CD, Lines. “In Time” and “Fine, Fine Lines” are sensual ballads that feature her husky vocals and fluid piano playing, while “Shadow” gets an engaging acoustic guitar arrangement. Hurd’s gift for quick-rhyming, clever lyrics is also evident on “Sangria,” which has the feel of a Broadway show tune.
Emily strives to break the mold of traditional piano and vocal playing by developing her own distinctive style.
Hurd has a steady lineup of shows, mostly in Chicago, where she can perform her music for others. That, after all, is what she enjoys most about the business. . . . Recently, Hurd was the opening act for noted blues singer Bettye LaVette at Chicago’s Old Town School of Folk Music. There, she performed before an audience of 400, doing eight original songs and an encore.