Sierra Hull – A Tip Toe High Wire

Folk/roots musicians are getting more mainstream recognition of late. Billy Strings, Rhiannon Giddens and Molly Tuttle come to mind but Hull could easily join this pantheon. Her talent on the mandolin, with an attractive voice, has already garnered awards but she’s not prolific and this is her first album in five years. Here she’s written or co-written ten songs and co-produced this acoustic record as a self release. Often the decision to release an album independently is the artist’s only option but after decades on Rounder Records Hull wanted the freedom that route gave her.

On A Tip Toe High Wire she’s added tunes that aren’t solely from a pure roots tradition and it’s lifted the whole experience. The intricacy and deftness of bluegrass in the musicianship, however, has been maintained. The quality of the playing strikes you immediately and Hull has used her touring band in the studio. Their empathy and familiarity with each other are evident as the solos and arrangements seem organic to the structure. Let’s Go is as intricate as a piece of jazz with different paces and rhythms. Her vocals, back in the mix, enable you to focus on some sensational playing. Come Out Of My Blues is a positive lyric about seizing the day. It catches fire after her initial verse. Tim O’Brien (Hot Rize) helps out and the band cut a rug with some memorable fiddle from Avery Merritt.

From earlier in her recording career she attributes her growing confidence to lead a band to advice from Béla Fleck, who urged her to step forward. On E Tune, as one of her heroes and influences, he joins the band on banjo for this instrumental. Again a sophisticated rhythm grabs your attention and the drama builds as the song progresses. She’s a capable lyricist and takes inspiration from her family. Spitfire is a homage to her grandmother who’s triumphed through many adversities. Muddy Water is a beautiful ballad that reminds you, for its gossamer wing fragility, of Alison Krauss. It’s a sweet melody that her voice nails and its lyric of finding strength within ourselves, when the time comes, captures a sentiment of support and affection that runs through many of the compositions. Not least she brings her mandolin to the fore whilst Erik Caveney, on bass, anchors the whole piece. Similarly, Redbird is a cathartic melodic starburst that arrives toward the end of the album. I have to repeat myself and say that if you’re a fan of Alison Krauss this is another track you’ll love.

This release is very much a collaborative affair, which summarises Hull’s approach and I’ve found the whole album gives up more on repeated listens. It seems I have one for my end of year list already.