Margo Price’s “Midwest Farmer’s Daughter” Evokes Both A Small Town And Big City Country Vibe, Plus So Much More
Is there anything this gifted girl can’t do? She sings, writes, plays acoustic guitar, piano, and drums. She even has a dancing background, but switched gears to concentrate her singer-songwriting efforts, through a band called Buffalo Clover with husband and guitarist Jeremy Ivey, and also Margo and the Pricetags, yet after building her name in the East Nashville scene and becoming known especially for her distinct voice, it seemed the time was write to really show the world her distinct spin on old fashioned music, be it Country, Country-Soul, Outlaw Country, and Americana, replete with biting social commentary about life’s hardships – in line with her reoccurring interest in the tough subjects, political and otherwise. I like this artist very much because she wants to make a progressive difference as much as she wants to revisit the sounds of the past, which is actually most evident in her newer album All American Made, which deals with the inherit inequality and hypocrisy displayed in gender relations. But on to the one that got it all crackin’ – Midwest Farmer’s Daughter is phenomenal, and while a Country layman like myself might think Price’s voice lies dead smack between Emmylou Harris and Dolly Parton, Margo Price has cited her biggest musical influences as being not only those aforementioned megastars of female Country singing, but musicians like Bonnie Raitt, Janis Joplin, Willie Nelson, Ryan Adams, and Bobby Gentry. Margo Price is from Aledo Illinois, which is on the other side of the state opposite Chicago, which qualifies the album title Midwest Farmer’s Daughter – and she certainly comes from a super small town, population 3460, which gives this record and it’s fabled content an authentic vibe. With that being said, through out the album, I feel that Soul, as in Country-Soul, is the standout style as far as I’m concerned. On a song like opener “Hands of Time”, I am swept up by the R&B leanings, which pervade lots of this material, even if certain tracks percussively lean towards bumping honky tonk arrangements. I wouldn’t say that Margo Price is attempting the same rough bluesy soul of Bonnie Raitt here, but she absolutely has something soulful going on.