As the reigning Queen of the Minor Key, Jewell leads a tight quartet that blends influences of surf-noir, early blues, classic country, folk, and 1960s era rock ânâ roll. For well over a decade, theyâve toured relentlessly for legions of fans from Boston to Boise and Madrid to Melbourne, playing large festivals, theatres, rock clubs, and coffeehouses. The group has shared stages with the likes of Lucinda Williams, Loretta Lynn, Mavis Staples, Wanda Jackson, George Jones, Emmylou Harris, and Blind Boys of Alabama. Eilenâs fans have marvelled at her warmth and onstage humour alongside her beautiful songs and fiery performances. In addition to six of her own full-length albums, Jewell has released two albums with her country-gospel side-project, the Sacred Shakers; a tribute album to Loretta Lynn titled âButcher Hollerâ; and a recent album of rare blues covers, âDown Hearted Bluesâ.
American Songwriter magazine describes the Bose, Idaho native Eilen Jewell as âone of Americaâs most intriguing, creative and idiosyncratic voices.â That singular voice springs forth from a woman of more than one mind, and she taps into many of them on âGypsyâ, her latest album released on Signature Sounds. By turns personal and political, pissed off and blissed out, Jewellâs first album of original material since 2015 expands brief moments of joy into lifetimes, and distils epic sentiments and persistent doubts into succinct songs. Yet rather than pulling artist and listener this way and that, the tensions within and between these 12 tracks propel her eighth studio album forward as a remarkably cohesive full-length.
âAt the core of Jewellâs eighth studio album is a set of self-penned cosmic-country songs on which the singer addresses both the personal and the political, her smoky voice and back in band in killer form throughout.â Mojo
âInspired by modern-day sexism and inequality, â79 Cents (The Meow Song)â blends satire with scathing indictments. The songâs mix of gypsy jazz and old-timey folk music goes down easy, but itâs Jewellâs clever writing â particularly her final verse, where she references President Trumpâs comments about grabbing womenâs genitals â that delivers the knockout blow, adding substance to a song thatâs also rich in old-world style.â Rolling Stone Country