These Boots Were Made For Waltzing
On The Last Town Chorus’ second album, Wire Waltz, the original duo has evolved into a solo project of mastermind Megan Hickey, accompanied by a cadre of revolving artists. Hickey’s ethereal Irish timbre vocals and other worldly lap steel that so dominated the first album continue to poetically permeate in the Wire Waltz; however, the arrangements have been expanded to include violin, percussion, guitar, and piano.Although the band is not characteristically upbeat, the toe-tapping tracks on Wire Waltz are the more memorable ones. “Caroline” is a depressing but eloquent song about the loss of a friendâ’s life, “It’s Not Over,” breakup song, reveals how aggressive Hickey’s solo’s can be and, “Wintering In Brooklyn” could have been the title track as it encompasses the best of TLT’s abilities: delicate mood, personal lyrics, a brilliant lap steel solo, and a thoughtful arrangement.
Although her music can be labeled as alt-country, the pedals Hickey uses with her lap steel make it sound like a synth, giving her music a distinctive, non-country sound. The title track, “Wire Waltz,” and “Wintering In Brooklyn” come closest to sounding like country in arrangement only. But both songs break away from any genre, as do all the tracks, in Hickey’s long-winded melodies that pause, as if to contemplate the moment, and then resume, remembering that the listener is hanging onto every word.
Megan Hickey has carved a niche for herself in her field. She takes her audience through the diary of a bleeding heart and leaves them awoken to their own vulnerabilities. With an extensive and geographically diverse touring schedule under her belt, it appears she has found a following with “boots like [hers]” who are communing with the “strawberry wine.”