MEG BAIRD announces European tour dates in September + shares ‘Good Directions’ and A Cappella video

July 29, 2015


Announces European Tour Dates in September

Shares ‘Good Directions’ and video for A Cappella version of ‘Even The Walls Don’t Want You To Go’

Following excellent reviews for her new album Don’t Weigh Down the Light, MEG BAIRD has announced a run of European live shows in September with Great Lake Swimmers, plus a London headline show mid-way through the tour at the Lexington on 13th September. Upcoming live info below:

Thursday 10th September       The Hope – Brighton (UK)* (Tickets)
Friday 11th September            Hoxton Bar & Kitchen – London (UK)* (Tickets)
Saturday 12th September       The Lousiana – Bristol (UK)* (Tickets)
Sunday 13th September        The Lexington – London (UK) – HEADLINE (Tickets)
Monday 14th September         The Deaf Institute – Manchester (UK)* (Tickets)
Tuesday 15th September        Button Factory – Dublin (IE)* (Tickets)
Wednesday 16th September   Brudenell Social Club – Leeds (UK)* (Tickets)
Thursday 17th September       Broadcast – Glasgow (UK)* (Tickets)
Friday 19th September            Leffingeleuren – Leffinge (B)* (Tickets)
Saturday 20th September       Incubate – Tilburg (NL) (Tickets)

* with Great Lake Swimmers

Alongside this tour announcement Meg has also released a video that she and Charlie Saufley made for an A Cappella version of album track “Even The Walls Don’t Want You to Go”:

And album track, “Good Directions” here.

Critical acclaim for Don’t Weigh Down the Light, released in June on Wichita Records:

“The once and future queen of psych-folk returns… Baird’s music remains gorgeous, harbouring a kind of still magic.”
Uncut – 8/10

“A transfusion of gorgeous, non-stop melody that rustles the air like an Appalachian mountain breeze… All 11 tracks are evocative and addictive. This is a diamond without a flaw.”
Record Collector – 5 Stars *****

“Stepping into Meg Baird’s world is like being lost in a medieval forest, a surreal place where anciant English ballads are sweetened and deepened with Appalachian mountain dulcimer and Laurel Canyon guitar.”
MOJO – 4 Stars ****

“Her third album is bound to send folk lovers drifting deep into mystic this summer… A tie-dyed treat.”
The Telegraph – 4 Stars****

“A lusher and more expansive affair than either of its two predecessors… Gorgeous opener ‘Counterfeiters’ sets a high bar which Baird effortlessly matches time and again such as on the exquisite ‘I Don’t Mind’ and ‘Back To You’… This is a strong affirmation of the Baird songcraft that has been well worth the wait.”
Shindig – 4 Stars ****

“A beautifully emotive listen, steeped in convention whilst eliciting a contemporary narrative and tone.”
DIY – 4 Stars ****

“On the surface it may be a gentle and breathy piece of Sandy Denny inspired folk, but throughout its eleven tracks there’s a more electric (and more eclectic) underbelly. Snaking guitar solos abound in the style of Kurt Vile, while elsewhere a laid back, Real Estate dreaminess breezes through the more typical folk influences… Simple in its beauty, but with much to rediscover on subsequent listens.”
Loud & Quiet – 8/10

“Delicate finger-picking nuzzles fuzzy guitar solos like prime Pentangle, while Baird’s voice, high and crystalline, sounds as if it’s coming from deep in a forest.”
NME – 7/10

“Baird is on fantastic form with songs that kiss folk’s touchstones – Nick Drake, Sandy Denny, Shirley Collins – and twist themselves around an idea… Soul-searching stuff.”

“There are exquisite things here – the Marquee Moon untethering of Back To You and the finely calibrated whirl of Good Directions…”
Q – 3 Stars ***

“Calm and atmospheric, Baird’s light, almost impressionistic style augmented by additional guitars and a little unobtrusive percussion,”
The Observer

“Baird’s mixture of history-steeped elements keeps her songs from being tethered to any given time period, which makes them apt vehicles for words about relationships fraught with uncertainty.”

Meg Baird’s last decade would be remarkable by any artist’s standards. She co-founded and recorded three albums with Espers—one of the most distinctively mysterious acts of the century’s first decade. She recorded two solo LPs: Dear Companion and Seasons on Earth. She also collaborated with Will Oldham, Kurt Vile, Sharon Van Etten and Steve Gunn, and toured with Bert Jansch.

And after more than a decade as a fixture in Philadelphia’s boiling-over musical scene, Meg moved west to San Francisco. There she joined forces with members of Comets on Fire and Assemble Head to form the moody and thunderous Heron Oblivion. Amid this flurry of activity she also managed to record this LP—Don’t Weigh Down the Light.

Like Meg’s previous LPs, the foundation of Don’t Weigh Down the Light is her lyrical, precise, and propulsive fingerstyle guitar work and a voice that’s alternately soaring, tender, soothing, and deep with mystery—one that more than a few have likened to folk’s greatest female voices: Sandy Denny, Jaqui McShee, and Shirley Collins. But where Dear Companion and Seasons on Earth were relatively minimalist affairs, Don’t Weigh Down The Light swims in colours and texture. Electric guitars and organs float and dart around Meg’s intricate picking and voice like ghosts. Distant drums become heartbeats. Piano and electric 12-string guitars shimmer like sun shining on rippling, crystalline seas.

Don’t Weigh Down The Light is also a record of its time and place—recorded in a city struggling to stay a haven for dreamers, freaks, and weirdos while a new Gilded Age rolls over the land like a flood. So… It’s a record that finds Meg casting a cautious sideways glance—questioning sweet talkers and promises of easy illumination. And on the other hand, it’s a loving embrace—and remembrance—of the sunshine-melancholy artistic traditions of California and the City: fog, light, love, hope, and eternal horizons.

Don’t Weigh Down the Light is out now on Wichita Recordings.


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