From Tori Amos to Suzanne Vega, I've always had a thing for female singers/songwriters who have a lot to say. So I was extremely pleased when I stumbled across Jo Potter's 2019 release "Tonight," a hard-hitting 10-track album (complete with 3 acoustic versions of songs) featuring some incredible tracks with plenty of flavor and attitude. From the instrumentation to the vocals, this is a first-rate recording and well worth your time on Spotify.
The title track "Tonight" is a fun and energetic party tune featuring pulsing guitars and a backbeat that belongs on a car-stereo heading out for the best night of your life. I like how Jo starts her album off with a rather optimistic feel, especially since there is some pretty serious subject matter on the horizon of her album. I'm not sure if she would call herself a country or rock artist but I could easily imagine fans of both finding a lot to like here.
The second song is "Over and Done" which is still upbeat but a little softer in instrumentation than "Tonight." I love the intimate vocals of this tune and you can tell that Jo Potter has an incredible sense of melody in her writing - there's a lot to like about the arrangement too, it's almost like the guitar part could be a dulcimer tune. It's got a mild folk quality but is obviously in the pop camp with the rhythmic vocals.
On to "Baby I am Yours" with a thumping beat it sounds sexy to start but some contrast comes in with the vocals - which are so sweet. I was getting a real Leslie Gore feel in this track (it might be the drums) but it seems to navigate that space between 1950s pop and country.
#4 on the album is "For You" (Seraphina's Lullaby) I was not prepared, as a listener, for how lovely this song was. I'm partial to ballads, so I'm biased, but if I had to choose one track on "tonight" to recommend, it would be "For You." With sweet string and arpeggiated guitar, the vocals sound just like, well, a lullaby. This one is just beautiful and heartfelt. If you could sing a warm blanket - it would probably sound something like this song.
Next up is "You're Amazing," another attitude song with a groovy bassline and drums. On first listen it made me think this is going to be more bluesy (and I was right). A wake-up call to women wasting time with substandard men is the thrust of the lyrics - which I wholeheartedly support. Imagine later Annie Lennox ("Walking on Broken Glass") - again, it's a really fun track something like the first two on the album.
"Goodbye," is a medium-tempo acoustic-vibe-jam. Ms. Potter sings very ballad-friendly vocals. This song reflects some of the most expert lyric writing of the whole album. Especially in the refrain - we all know the "goodbye" is coming but the way she stretches it out through the verse makes it sound like this is the first song of this nature we've ever heard.
Track #7 is "Waiting." Some of the tightest instrumentation is in this song and I love the congas. I've got to complement our songstress on her sense of drama: especially in that it's a sentimental sound in instrumental and vocals with an energy and tempo rise headed towards the chorus. Be warned, it's very easy to get "Waiting" stuck in your head for days.
Nest up is "No Apology" I can't tell if I'm just semi-aroused by Jo Potter but I'm really enjoying the very sexy attitude. But come on, she sings the line "mover over you like the ocean." Again, like the rest of the album, there are wonderfully expertly played arrangements.
Second to last "Everything" has the air of a downtempo jam. The groove is piano and drums driven, which strays just a bit from the other songs - but obviously belongs to the same body of work. Not to beat a dead horse but I'm a huge fan of the rhythmic melodic line which conveys a sultry side that I'm really digging from Ms. Potter.
"Nothing" is the perfect parting song from the album. Swirling violins in a waltz rhythm. It has a similar sentimental sound to "Waiting." Again, it seems like ballads are where Jo Potter really shines - it's the right song for late-night whiskey while the record player winds down. Think of a more subdued "At Last" except, you know, it's about breakup, so it's kind of the anti-"At Last."
Of course, I should mention the wonderful acoustic versions of "Baby I am Yours," "Goodbye," and "No Apology" which are all just as great as the studio versions (yeah, yeah, I know these were recorded in the studio as well, but you know what I mean).
This is my first time hearing Jo Potter, but I'm deeply impressed with her material both as a writer and as a performer. It will be interesting to see where she goes from here. You can find her at her website: www.jopotter.com
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