You could probably say that Trixie Whitley was born to play music. The daughter of the late great blues guitarist Chris Whitley, although only 25, she has already released a handful of solo EPs and fronts the blues/soul/rock band Black Dub. While she’s been busy touring worldwide with Black Dub for the last few years, Trixie also found the time to pen her first full length, Fourth Corner.
Trixie plays off her strengths well here. Incorporating soul, blues, jazz, R&B, and rock with her unbelievably skilled vocals that show a massive range, she delivers powerful songs packed with melodies and darker undertones. A multi-instrumentalist as well, she lays down some drums and guitar, though she also takes help from Thomas Bartlett (Doveman) as well as members of Black Dub.
With much diversity in tow, Fourth Corner often shows the inherent influence of her dad, such as the eerie rocker “Hotel No Name” and the more blues guided “Gradual Return”.” However, she’s just as skilled at the quieter moments. The balled “Pieces” illuminates her gorgeous voice, as does the pensive “Morelia.” Fortunately, with the massive amounts of different instruments used, her voice is still highlighted often; the opener “Irene” is similar to a female Tom Waits’ song. She spreads her wings even further on the almost funk-like “Never Enough” and on a few songs even injects spoken word.
Fourth Corner is an incredibly mature and accomplished album for someone so young. But seeing as how Trixie has been raised among the most cultured musicians and has been performing in some fashion since she was 11, I guess it only makes sense she would produce something this graceful. An emotive, passionate display of skill and dedication, it’s not hard to imagine Trixie one day following her father’s footsteps in the area of influence with her own music, as Fourth Corner is certainly a step in that direction.
