Album Review: Brennen Leigh – The Box

Texas singer Brennen Leigh’s newest release, The Box, ranges from traditional country to traditional bluegrass, but the important word to note there is “traditional.” There’s nothing that’s bombastic or puts attitude ahead of ability. The lyrics don’t pander or boast. Most importantly, it manages to be both traditional and contemporary, using time-tested country and bluegrass sounds but without feeling like a relic from a long-gone era.

Leigh, an Austin-based singer/songwriter who’s recorded several albums on her own as well as one with guitarist Jesse Dayton, has a clear, lovely voice that convincingly fits both the country and bluegrass selections. The songs on The Box–touching on heartbreak, restlessness and wanting–don’t require powerhouse vocals, and Leigh manages to do a lot with a little. In “Green Rolling Hills,” the opening track, she sings “I used to love these rolling green hills up here, didn’t think I could get any higher/These fields used to make my eyes well up, now all I wanna do is set them on fire.” Leigh expresses her new-found frustration with her old life without belting out the chorus. Elsewhere, the title track has Leigh wistfully singing about a box of mementos from a past relationship that she can’t throw away, while “Backsliding Blues” and “Distracted” are more playful. If radio wasn’t so focused on uptempo songs, the latter tune would be Lee Ann Womack’s next #1 single.

With the wrong production choices, Leigh’s voice could have gotten lost in the shuffle. Fortunately, the arrangements are all very tastefully done and nicely complement her vocals. Producers Leigh and Tommy Detamore keep it pretty simple and straightforward–easy on the electric guitar, heavy on the steel, why use one fiddle when twin fiddles are available.

The problem that simple arrangements and subdued vocals can create is that no one song stands out. The distracted listener may find him or herself halfway through the album, thinking that only two or three tracks have played. Little touches like the accordion on “Sleeping With The Devil” or the always-welcome Jim Lauderdale’s harmony vocals on the title track help add variety to the mix.

Don’t try listening to The Box in a car stereo roaring down a highway or as background noise during household chores. It requires a little more attention than that, but in the end, it’s time well spent.