Not Just White Noise
Missy Higgins has been on quite a wild ride since writing a song in the half hour before it was due for her senior music class. “All For Believing” was encouraged into a demo by her teacher, submitted to a national contest by her sister, and heard on radio stations in LA, finally landing her a record deal. Appropriately, it opens Higgins’ debut album, The Sound of White, with a touch of passion and intrigue.Higgins is already a star down under, and should she keep at this level of musicianship, it’s likely she’ll shine bright in the states as well. TSoW contains a spectrum of emotions, ranging from longing to fun-loving. Guitar and piano make up most of the album, but most noticeable is Higgins’ strong voice, with a distinct Australian accent. While it may grate on some, it adds a spark of originality and uniqueness to the songs that can’t be denied.
Produced by John Porter (Elvis Costello, Ryan Adams, Los Lonely Boys), the music flows easily with intense solos and fulfilling choruses, enhanced by a range of instrumentation skillfully woven in. A strong performer on her own, the transition between Higgins playing alone and the introduction of backup sounds almost seamless.
It’s difficult to place TSoW musically. At times it’s reminiscent of a classical music concert hall, at others it’s poppy. Sometimes she belts out a word like a seasoned blues matron, and sometimes she’s simply a singer-songwriter, onstage with her piano or guitar.
Overall, Higgins could make a big a big splash with this debut, and rightfully so. America will miss out if not ready to welcome her unique style.
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