Sam Amidon - Bright Sunny South

‘Bright Sunny South’ opens with a statement of intent. A downcast adieu to family, its subject’s search for independence is imperative: “I must be going, for here I cannot stand / I’m going in defence of our own native land.” As an opener, it’s certainly apt - Amidon recently having left the comfort of Reykjavik-based label Bedroom Community to find a new home at Nonesuch - the very same label that released his parents’ music (they sang as part of the Word Of Mouth Chorus) almost forty years ago. It’s no wonder that he’s searching for autonomy now.

But we can’t take these words too literally - they’re not the singer’s own, after all. Amidon’s work is rarely comprised of original songs. Instead, the Vermont-born folk singer borrows freely from a diverse range of sources, weaving enchanting interpretations of pre-existing material from a simple palette of acoustic guitar embellished with elegant background production. His reference points on ‘Bright Sunny South’ range from folk songs of the Sacred Harp tradition and of African-American origin, through to country-singer Tim McGraw, and even on to Mariah Carey.

Despite its title, ‘Bright Sunny South’ is perhaps the most quietly despondent entry into Amidon’s catalogue yet. It’s something that’s intensified by the singer’s detachment from these songs; there’s a certain objectivity in their conveyance. Engendered both by Amidon’s matter-of-fact delivery and the fact that these words are not his own, the resultant effect is one of rain tapping on the window, of songs sung to occupy oneself rather than entertain an audience. With no song is this truer than ‘Pharaoh’ - so sparse and mediative that it’s bordering on hallucinogenic. Elsewhere, ‘He’s Taken My Feet’ is a celebration of salvation turned inside out - what should be a song of rejoice, in fact a solemn reflection that stumbles towards its chaotic climax. Even the austere piano accompaniment of his take on Mariah Carey’s ‘Shake It Off’ seems rather monochromatic.

None of the above is to detract from the record - despite romantic idealisations, music doesn’t always have a to be a communication from the soul; of personal emotion and feeling. Besides, there’s enough universality in these tried and true folk songs that they are utterly bewitching all the same, and the breezier numbers, such as ‘I Wish I Wish’ and shimmering lead single ‘My Old Friend,’ certainly provide respite.

As ever, Amidon mediates between the folk music of his ancestry and the popular music of his day, finding a unique modernity in his marrying of past and present. Consequently, ‘Bright Sunny South’ feels like a mobile of people and memories, and Amidon its central axis. Nobody’s quite sure whether these tales are his own or folk stories passed down through the ages, and they’re all the more entrancing for it.