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Jun 13, 2019 Faye Webster By Matt Conner

Lest you think Faye Webster a musical cub, her personally tender and musically generous debut for Secretly Canadian (and third album overall), Atlanta Millionaires Club, reveals a depth to each facet that slowly erases the newcomer categorization. Webster is in her early 20s, but the Atlanta native has been writing songs since she was 14. The experience, as odd as it might sound, shows.

Webster’s sound ambles along traditional country’s corridors but kicks in doors of its own, creating portals that effortlessly blend pedal steel and other genre trappings with lonesome pop approaches (“Pigeon”) and even alt hip-hop grooves (“Come to Atlanta”). Horns and flutes are also included as smart sonic flourishes. Webster’s organic approach never feels forced; she’s not defying convention as much as she’s simply following interests.

Lyrically, Webster’s been around the block a time or two, even if those efforts weren’t far-reaching. That experience shines on “Hurts Me Too,” when she sings, “I am done changing words/Just so my songs sound prettier/I just don’t care if it hurts/‘Cause it hurts me too.” The songstress brings similar sentiments to the table on “What Used to Be Mine,” “Jonny,” and more. These are sad songs, to be sure, although each achieves is elevated by Webster’s buoyant vocal work (fans of Natalie Prass will find a lot to love here). The tracks are remarkably light for their lyrical content.

Atlanta Millionaires Club is an intriguing step up from Webster, and she’s given herself permission to proceed in a number of directions from here. (www.fayewebster.com)

Author rating: 7/10