Releasing your third album at the age of 21 is a feat in itself, but it’s even better when an artist can do it well. On Atlanta Millionaires Club, Faye Webster positions herself somewhere at the intersection of waif-like indie folk, chic baroque pop and minimalist RnB.
It’s not an album that’s instantly captivating, though Webster’s voice is easy on the ear. Although it might take a few listens to really get going, it brings the rewards. ‘Flowers’, featuring Atlanta rapper Father is the penultimate track on the album, and probably the best one. With a stop-start staccato feel, it leads into Father’s rap verse, before reverting to type.
There is the risk, when making this sort of folksy music, of being perceived as nothing more than a poundshop Gabrielle Aplin. To Webster’s credit, she shows far too much talent to be shoved into that box. A little more innovation wouldn’t go amiss – if every track was of the quality of ‘Flowers’ and the jazz-infused ‘Jonny’, this would be an exceptional album, rather than the good one that it is.
It’s not an album that’s instantly captivating, though Webster’s voice is easy on the ear. Although it might take a few listens to really get going, it brings the rewards. ‘Flowers’, featuring Atlanta rapper Father is the penultimate track on the album, and probably the best one. With a stop-start staccato feel, it leads into Father’s rap verse, before reverting to type.
There is the risk, when making this sort of folksy music, of being perceived as nothing more than a poundshop Gabrielle Aplin. To Webster’s credit, she shows far too much talent to be shoved into that box. A little more innovation wouldn’t go amiss – if every track was of the quality of ‘Flowers’ and the jazz-infused ‘Jonny’, this would be an exceptional album, rather than the good one that it is.
Haiku Review
Folk-pop progression
Sometimes experimental
Always quality
🍒🍒🍒
Words by Adam England
