BONNIE NICHOLLS: Meet the New Me

Local singer-songwriter Bonnie Nicholls has a new seven-track album out that defies categorization. It crosses stylistic boundaries the way a stray cat crosses property lines—more out of indifference than defiance, a reflection of its innate nature rather than any kind of statement. The varying styles featured on the different songs are performed so organically that it feels like this wide-ranging collection is simply a reflection of who Nicholls is.

The opening track, “China and Tablecloths,” is a delightful throwback, not too different from the Andrews Sisters in arrangement and feel. Nicholls’ lithe piano, bouncing vocals, and JP Balmat’s elegant clarinet give this tale of a broken heart a bit of whimsy instead of heavy tragedy.

“Bad Days Are Coming” is a rustic bit of Americana, with Nicholls singing in the lowest part of her register, accompanying herself with an ominous whistling of the melody that sounds like something out of a John Ford western.

“Bombay Beach” is another bouncing bit of retro-pop (and by retro, we mean mid-1930s), calling to mind the vintage stylings of the Manhattan Transfer.

Then on “Old Oak Tree,” she changes gears again with a stripped down, stately arrangement of just Nicholls on vocals and Jason Littlefield on acoustic piano. While Nicholls has shown herself to be a gifted pianist in her own right, Littlefield brings a nice touch of jazz phrasing here.

The vintage neo-cabaret vibe returns on the title track with Nicholls delivering her lyrics of newly set boundaries with a slightly naughty insouciance—a take me or leave me statement if ever there was one. And is that a growl on her vocals?

Jeff Berkley’s acoustic guitar frames Nicholls’ conversational vocal on the contemporary folk track “You’ve Been Good to Me,” a loving ode to a beloved pooch.

The album closes out with another jazz-tinged cabaret piece, albeit this time with strong gospel influences, “Fooled Me Again.” Littlefield’s block chords on piano do a nice job of setting the table for Nicholls’ vocals. The soaring harmony vocals, the spare electric guitar lines, and Balmat’s saxophone provide a rich interplay, with Balmat’s improvised solo a gem.

It’s a grand song given a worthy arrangement and an inspired performance—a great bit of punctuation to the album as a whole.