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Coty Hogue's New Live Album, When We Get To Shore

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Coty Hogue with banjoWe're excited to be working again with Northwest songwriter and folk artist Coty Hogue. Based out of Bellingham, WA, Northwest songwriter and folk artist Coty Hogue's debut album, Going to the West, was so well received that we had high hopes for her follow-up. And she sure delivered!

On her new album, When We Get To Shore, she again taps into her signature blend of influences: her own songs, songs from her friends, covers of well-known popular songs redone as roots music, and haunting Appalachian balladry. She's one of the few artists we know who can move effortlessly between these genres of music, while bringing a cutting-edge vision to each. That's no small feat! Add to this the fact that her new album is a live album taken from high-end recordings at a recent Empty Sea Studios show in Seattle, and Coty Hogue's talent is undeniable.

"Confession time: solo singer-songwriter acts are a hard sell for me, and live albums by solo singer-songwriters are even more so. But I saw that “Handsome Molly” was on the program, so I decided I’d give it a shot. By the time Coty Hogue got to her sharp and understated version of Bruce Springsteen’s “I’m on Fire” she had my attention, and with her version of “Going to the West” — a song that ruins me for the day every time I hear it — she had my heart. Her version of “Handsome Molly” is great, too, and judging from the inside photo, she seems to play the same banjo I do. So apparently we’re soulmates. But that’s not why you should buy her album; you should buy it because it will grab your heart and ruin your day in all the right ways."
--Rick Anderson, CDHotlist

When We Get To ShoreIt’s exceedingly difficult to create a great live album, but with When We Get to Shore, Northwest songwriter and folk singer Coty Hogue seems to have succeeded at just that. When recording live music, there’s no safety net. There’s no autotune to adjust the singing, or do-overs to cover up mistakes, but Coty Hogue clearly needs none of that. Her live album crackles with electricity and showcases her distinctly beautiful voice. It’s the kind of voice that’s equally at home singing a subtle, acoustic version of Bruce Springsteen’s “I’m On Fire” as it is singing songs from her own pen, or a mournful Appalachian ballad. Few singers today can claim that kind of diversity, but Coty Hogue walks these lines easily.

All these influences come from a life well-lived. Raised in Montana, Coty Hogue grew up with the awe-inspiring wide open skies and rugged mountains of her hometown embedded in her music. She left at a young age to move to Bellingham, WA, a small arts-based city nestled into the waters of the Puget Sound about an hour and a half North of Seattle. She nurtured her songwriting talent there, collaborating with other artists, including fellow songwriter Sarah Fulford (whose song “Jonah” opens the album, and whose songs have featured on all of Coty’s albums). In 2009, Coty moved across the country to Boone, North Carolina to work for a Masters in Appalachian Studies. She studied the old songs and ballads of Southern old-time music, immersing herself in their sparse, haunted landscapes. Returning to Bellingham, where she now lives, Coty’s carved out a space for herself in the national folk scene as a uniquely versatile singer, an artist whose music resonates with knowledge of our past history and hope for a bright future.

When We Get To Shore was recorded live before a joyous audience at Seattle’s renowned Empty Sea Studios. Recording engineer Michael Connolly has perfected the art of live recording, and it really shows on this album. Joined by fellow Bellingham musicians Aaron Guest (vocals/guitar) and Kat Bula (fiddle/vocals), Coty’s sound is rich and warm, but also intimately alone, unbuffered by studio trickery. The songs run the gamut of her influences, from a Fleetwood Mac cover (“Second Hand News”) to beautiful, thoughtful renditions of traditional songs like “Wedding Dress” and “Handsome Molly.” Coty’s songs feature prominently, like the graceful mourning of “Cannot Deliver,” and the bitter taste of “Fire and Ashes.” The album closes with a song from Bill Monroe and a song from Hazel Dickens, cementing Coty’s love for American roots music. Each song is treated with careful reverence, as Coty draws out its inner essence. It’s the kind of album that makes you wish you’d been there that night, which is the best thing you can say about a great live album.

Visit CD Baby for the album and samples to listen to.

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