The alt country scene is crowded these days, which is great for fans but tough for artists looking to stand out. Fortunately for Amy McCarley, the first thing that strikes a new listener is her distinctive voice. There are shades of genre luminaries in her Alabama drawl — a little bit of Lucinda Williams slur, a touch of Dwight Yoakam-esque mountain twang. But comparisons are really only useful for reference purposes; McCarley’s sound is all her own, and her latest album Jet Engines showcases an artist firmly grounded in Americana, yet well-poised to make an individual statement.
Roots guitar fans will immediately be drawn to the production imprint of Kenny Vaughan, probably most well-known for his picking in Marty Stuart’s Fabulous Superlatives. Indeed, Vaughan leads a rock-solid band, and tasty blues-meets-country riffs abound. However, it’s Amy’s songwriting that commands the stage. Her voice is a nuanced instrument best paired with a strong lyrical hook, evidenced by honky tonk gems like “Here I Am” and “Radio On” — hard-driving, foot-tappings tunes with country soul that puts the current Nashville radio crop to shame.
That’s not to say McCarley can be narrowly categorized; Jet Engines is sonically diverse while maintaining a coherent thread throughout. The title track segues seamlessly between a swampy blues verse and a dynamic, melodically memorable chorus. The anthemic “Hands Tied” is probably the most pop-oriented track, recalling Tracy Chapman at her radio-friendly rootsiest. Amy McCarley could easily take her music in any one of these directions and create a name for herself; hopefully she continues to follow the more eclectically rewarding muse that yielded Jet Engines.