The folks at Cowboys & Indians magazine have premiered the new video for “Arguing With Ghosts”. Filmed in Franklin, Kentucky by Joshua Britt and Neilson Hubbard of Neighborhoods Apart, the video stars Marshall Chapman and Jordyn Shellhart as the older and younger versions of the protagonist in the song. “Arguing With Ghosts” is from the new album Dancing With The Beast.

Visit Cowboys & Indians to see the video and read the feature interview.

…as the piano intro begins to “Truckstop Angel” or “The Boy From Rye” you appreciate that you are not just listening to songs these are little 3 or 4 minute epics. Such is the faith in the new album that it forms a large portion of the current set and it is fully justified. Gretchen admits that the election result unsettled her and that is perfectly encapsulated in  “Lowlands”, which was delivered here as a powerful tour de force….

…the final moment of a memorable night had to be something, and it truly was, with the band despatched Gretchen stepped to the front of the stage and off microphone and unplugged sung ” Love That Makes A Cup Of Tea” to a silent Cadogan Hall. In an age where the most mediocre talent show performer is deemed worthy of a standing ovation it was a joy to see a truly deserving one as the audience rose as one to show their appreciation for a quite extraordinary performance.

To read this review in its entirety, visit w21Music.

…That theme of resignation, of resolve, is one that recurs often in the female characters that inhabit Beast. Peters always writes with deep sentiment, but always avoids overt sentimentality. It’s an incredibly difficult balance to strike, but one she does with grace and grit — qualities she instills in her characters, as well. The heroines in Peters’ songs may well be victims of certain circumstances, but they are never victims. The women of “Disappearing Act,” “Wichita,” and “Truckstop Angel” all have agency, though it has often been hard-earned. Peters does, as well, in the songs that reflect her own life’s experience, including “The Show” and “Lay Low.” Her affinity for presence, gratitude, and self-care is both her rising and her resistance…

To read this review in its entirety, visit Folk Alley.

Accompaniment for the night came from the always amazing Barry Walsh on piano, vocals and accordion, Conor McCreanor on bass and Colm McLean on electric guitar. Absolutely stunning musicians, they all added something to the evening…

We were treated to some old and some new songs; in a stunning set, it was hard to choose favourites, Highlights for me included the achingly beautiful Arguing With Ghosts (arguably one of the best things Gretchen has written), Disappearing Act, Idlewild and much loved in the UK, Bus To St Cloud, dedicated to her dear friend Jimmy LaFave. Kim came out to provide backing vocals for several songs; the result? The most exquisite versions I have ever heard of Tom Russell’s Guadalupe and a delivery of Say Grace, which prompted a reverent silence and brought tears to my eyes.

(photo by Andrew Newiss)

To read this review in its entirety, visit FATEA.

2016 was an unintentionally cruel transitional year for Gretchen Peters. In the span of twelve months, she encountered a myriad of loss — her mom, her dog, and two of her best friends. The results of the US presidential election only confounded her already fragile state of mind.

She turned to music to make sense of it all, which has resulted in her eighth album, Dancing With The Beast, eleven snapshots of gut-wrenching brilliance inspired as much by her personal misfortune and the 2017 Woman’s March, as the #MeToo Movement that swept into our collective consciousness last autumn. Female-centric perspectives lead the record and the listener on a journey both horrifically candid and deeply satisfying.

To read this review in its entirety, visit My Kind of Country.

Hard to believe but this great singer-songwriter (whose award-winning work has been covered by everyone from Neil Diamond and George Strait to Etta James and Shania Twain) is now 60. But here she sounds as contemporary as many half her age as she deals with the lives and thoughts of women of all ages (the girl in the startlingly convincing Wichita is a troubled 12-year old) and deliver an album full of female empowerment wrapped up in memorable country-framed songs. Peters convincingly writes from within her characters (the young anxious women in The Boy from Rye, the self-aware hooker in Truckstop Angel who wonders if she is predator or prey) and pens spare lyrics which hook you in immediately: “I spend a lot of time here in the lowlands, mostly keeping to myself . . . ever since he put that sticker on his bumper I just turn out the lights and lock the door . . . I don’t know a soul who’s sleeping well” on the haunting and uneasy Trump-era Lowlands where the television lies to keep you watching and “the man who lies for the sake of lying, sell you kerosene and call is it hope”.

An exception writer and singer right at the top of her game. Still.

To read this review in its entirety, visit Elsewhere.

It’s an unforgettable moment when a performer comes down from the stage into the audience and sings a song. I saw David Bowie sing Wild Eyed Boy from Freecloud from the stalls at Taunton, and now Gretchen Peters sing Love That Makes a Cup of Tea from the front row of St George’s in Bristol, both indelibly.

I have been fortunate to see the Nashville-based singer songwriter performing on several occasions in many venues, but never singing better than at St George’s, a venue she clearly loves both for its splendid warm acoustic and its loyal and enthusiastic audience.

She’s in the UK to promote her new album Dancing with the Beast, the result of what she hoped would be a relaxing break that was shattered by the 2016 election result. There was no indication that the title of the new record is especially relevant, but Gretchen, one of the most intelligently political of the avalanche of disaffected performers, captures that new mixture of fear, anger, nostalgia and disbelief that has swept across America.

To read this review in its entirety, visit The FTR.

LH: Stories and characters are always to the fore in your songwriting, you paint pictures so well, and this collection is no exception. And once again the stories you tell here aren’t always pretty….what is it the attracts you to flawed characters and desperate situations?
GP: I find these characters heroic. They persist, despite having been dealt a bad hand. If there’s anything beautiful and admirable about humans (and we’ve certainly been tested in the past few years to find it), it’s the ability to maintain their humanity in inhumane situations. The girls and women on Dancing With The Beast are, as my coproducer Doug Lancio said to me, “wrapped in a ramshackle kind of elegance” – I love that, because it elevates them the way I see them – as heroines, with a certain dignity and grace.

to read this interview in its entirety, visit Belles & Gals.

…Each of the eleven songs represents the voice of a different woman, with different life experiences, and at different ages. There is the lonely widow on ‘Arguing with Ghosts’, there’s the abused young girl in ‘Wichita’, the woman who lives as a ‘Truckstop Angel’. There is murder and revenge, loss, grief and heartache.

In the overheard interview, Gretchen Peters said that this wasn’t her original concept for the album. The death of her mother last year and the American election result in 2016, however, put these characters and their voices in her head. They are women’s voices, but they are songs that speak to humanity. She makes it clear that she isn’t a protest singer, but, while not being overtly political, the environment that surrounds the songs is political with both Trump’s presidency and all it represents and the #metoo campaign in the news. She described the political situation as an “empathy crisis” and these songs are about opening the “empathy channels”, giving people who don’t normally get heard a voice.

To read this review in its entirety, visit Pennyblack Music.

If it were not for Peters’ compassion wrought in her voice, this album would be unremittingly grim and desperate. It could be where one finds oneself – not so much in nowhere but at the dark end of the street. But Peters is too insightful for that. Dancing with the Beast is a survivor’s suite; a collection of what it means to be human, a meaning that is not guaranteed of sunshine and happiness…

Her music is wider than Nashville. It merges country, folk, Americana and rock. It’s that paradox of being all soul without being soul.

To read this review in its entirety, visit Daily Review (Australia).

…on her latest album Dancing With The Beast she re-affirms her position as the most compelling and original lyricist around – and from the off dispels any notion her astonishing turn of phrase may not be in the sublime health of old.

…‘Wichita’ continues a theme Peters began on ‘Independence Day’ a song which brought renown early in her career, but this is darker and even more vivid – if these were Springsteen songs (and he would be rightfully proud of both) ‘Independence Day’ would be on ‘Born In The USA,’ while ‘Wichita’ would feature on ‘The Ghost of Tom Joad,’ the point being her stories have become bleaker and if anything gained in resonance…

To read this review in its entirety, visit Samtimonious.

…to call Gretchen Peters a veteran of country rock would be a disservice: she still has stories to tell, ground to cover. Over the course of nearly two hours, through her honeyed yet weathered voice with little overt embellishment, Peters reminds you of what an irreplaceable talent she is.

New album Dancing with the Beast (“It’s not about my husband” we’re assured) is hot off the press and the majority of the set is dedicated to it. This includes the beautifully washed out ‘Arguing with Ghosts’. This could well be the creed underpinning all of Gretchen Peter’s work. Much of her music hangs around the impasse of ‘what ifs’…

To read this review in its entirety, visit Hey Nineteen.

…continuing to deal with often difficult subject matters including prostitution, death, depression, and the ageing process as seen through the eyes of different female characters, Gretchen Peters’ performance is as powerful as it is poignant. Admirably supported and complemented by a stellar band comprising her musical and marital partner Barry Walsh on keyboards, bassist Conor McCreanor and badass guitarist Colm McLean (whose blistering solo on ‘Lowlands’ – one of many that he peels off tonight – is nothing less than astonishing), Peters invests these often harrowing tales with the greatest of humanity and a firm belief that love can still somehow conquer all.

To read this review in its entirety, visit God Is In The TV.