In the press materials accompanying her debut release Bible Belt (S-Curve Records), singer/songwriter/pianist Diane Birch says this about the album’s title:
“The idea of Bible Belt has a layered kind of meaning for me. Because my dad was a preacher, the very religious upbringing I had made a huge impact on my life, in a very restraining and constricting way. I’m constantly talking about heaven, angels, and forgiveness. I’m hugely inspired by church hymns—their chord structures, their colors. It was a form of constraint for me as a child, but now I see that it has fueled my creative fire.”
Thus, the clever reclamation of a term commonly used to describe an area of the United States with a large evangelical Christian population becomes both a symbol of the ties that bind (literally and figuratively), as well as an acknowledgment of roots that run too deep to deny. It’s a finely calibrated balance of soul and craft, that title, a delicate dance of substance and showmanship which can also be felt in the music and aesthetic on the record itself.
The songs on Bible Belt were all written by Birch and feature an earthy, keyboard-driven pop-soul sound that has critics everywhere name-checking songwriting heavyweights like Carole King, Laura Nyro and Carly Simon. The detailed production (which sonically telegraphs some of the comparisons mentioned above), was handled by Steve Greenberg, soul legend Betty Wright, and Michael Mangini. With a savvy, proven hit-maker like Greenberg (Hanson, Jonas Brothers) and a boatload of session ringers in her camp, it would be easy for lazy cynics to only locate the powerful industry push at work here, and that would be a shame. Even a cursory listen to the record, and a reading of recent interviews, reveals a talented young artist with an interesting mix of influences and a thoughtful way of articulating her ideas.