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Shannon Wright



Even though it’s never implied in the liner notes, I will refer to shannonwright as if she had a first and last name. It always says shannonwright with no capitals and no space, but I figured writing that out more than once would look terribly awkward.

Shannon Wright kinda reminds me of Jewel sometimes, but not as airy. She sometimes reminds me of Liz Phair, but not as nasty or as rhythmically confused (or gifted, depending how you look at Liz Phair).

Sometimes, Wright sounds like an original, and at those times, her music really clicks. Unfortunately, there is a little too much time on this album devoted to trying to fit into the mainstream, and not enough devoted to developing her own original sound. Overall, however, Flightsafety induces a continuously chilling feeling, and it works.

It’s not a stretch to say that Wright is probably influenced by many ‘90s female singer/songwriters, but it’s a certainty she is influenced by those from decades ago, such as Joan Baez and Carole King. As for the lyrics, they range in tone from a tight, almost claustrophobic feeling, to an eerie, downright haunting feeling. Quite the dark little range, wouldn’t you say? Let’s put it this way: if you need cheering up, don’t look to Flightsafety.

Now, this album won’t be winning Wright any Grammy Awards, (not that anyone gives a damn about the Grammy’s anymore), but it is fairly strong throughout. The energy level is high and the pacing and flow of the album are solid. The vocals are up front, as Wright gives the listener everything she has, even when it falls slightly short of being in tune. She’s into her songs, and that’s definitely a good thing.

I’d have to say that if I were to pick a new singer/songwriter to watch for a while, Shannon Wright would be near the top of the list.


Tagged as: shannon wright
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4 Oct 2007
Certainly, there is little of a spectacular nature achieved by Wright on Let in the Light, but it is in not creating a spectacle, or even attempting to, that Wright gives her music unique qualities.
By Andrew Johnson
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