There’s a gorgeous simplicity to Tenderness, the first solo album by Katy Beth Young of indie-poppers Peggy Sue. Young’s voice is a key part of that, a beautiful instrument that recalls Jolie Holland, and this is complemented by Harry Bohay on pedal steel, who adds a subtle, sad undercurrent to Young’s smart songs about broken hearts and modern dislocation, written in a north London flat. While she draws on country music for emotional support, her concerns are contemporary (“Touchscreen”, “Database Blues”) and clever (“We’ll Always Have Paris 1919”, “Playing ‘Country Roads’”).
There’s a gorgeous simplicity to Tenderness, the first solo album by Katy Beth Young of indie-poppers Peggy Sue. Young’s voice is a key part of that, a beautiful instrument that recalls Jolie Holland, and this is complemented by Harry Bohay on pedal steel, who adds a subtle, sad undercurrent to Young’s smart songs about broken hearts and modern dislocation, written in a north London flat. While she draws on country music for emotional support, her concerns are contemporary (“Touchscreen”, “Database Blues”) and clever (“We’ll Always Have Paris 1919”, “Playing ‘Country Roads’”).
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