Every now and again an artist will arrive like spring and the breath of fresh air that comes with it. Katy J Pearson has breezed in with the gentle blast of a glug of cold water after an Extra Strong mint, grabbed the lapels of the industry and violently shaken off anything stilted like a Skoda going over a cattle grid. She has done all this without breaking a sweat and a skip in her carefree stride.
Along the way, she has reaffirmed musical truths that are often forgotten before a fresh wind blows them back into focus. Her act is as refreshingly original as it gets, and the central tenet of that is that her music shows the true worth of ‘originality’ as an adjective. It should be a token used to describe your work as opposed to something to aim for while making it. Katy J Pearson’s lilting gems seem to gun for nothing other than a sun-trap patch of ethereal exultation.
With her stunning debut album Return and a string of other singles, she has asserted this with butter-cutting ease. Her latest track ‘Talk Over Town’ plops a cherry on top of the sumptuous sundae so far. The beauteous ditty has your toes tapping like a lemur’s tail and runs the summer wind through your luscious locks even on the baldest of bald heads—with no stinging dissonant slaps insight.
The track holds huge promise for her forthcoming album Sound of the Morning which is due for release on the always-delivering Heavenly Recordings on July 8th. For the album, she has teamed up with producers Ali Chant who recently worked wonders with Yard Act and Dan Carey who has also worked with Fontaines D.C..
Speaking of Fontaines D.C., when we recently caught up with them, drummer Tom Coll was another fellow fan full of praise. “I went to a show of Katy J Pearson’s. She played The Village Underground. It was class, she’s class. It was really, really good,” Coll enthused. That live act brilliance is no surprise, her work seamlessly melds the bliss of summery cloud-bursting eudemonia and the zipping bravura of striding your way to the beer garden.
By her own admission her music strives to always capture the bittersweetness of things and in with that in mind her music braces these trying times with a cognizance that allows for exultation, and the sort of boon that says bliss doesn’t have to be ignorant but it can also be free of the maudlin march of the everyday.