Sarah Jarosz Strums, Picks, and Sings Her Way to Stardom

I had just moved back to my hometown when I first heard Sarah Jarosz. I'd write short stories while CMT Pure played on my TV, back when that station featured fringe artists from Americana and alternative country. I remember working on what became my best short story to date when Jarosz's song "Run Away" came on. I was drawn to her voice at first, especially the soft high notes in the chorus. Upon further investigation I found out that she was a string instrument prodigy, and is especially proficient on mandolin, banjo, and guitar. Her second to last album, Build Me Up From Bones, was nothing short of excellent and an obvious progression, and at that point I was sold. She recently released her fourth studio album, Undercurrent.

What's obvious upon the first listen of Undercurrent is how Jarosz has progressed as a singer and songwriter. Her vocals sound better than they ever have, and the breathy moments from her first couple of albums are nearly gone. Don't expect any pop acrobatics, but Jarosz has developed into a very capable singer with no shortage of talent or technique. Conviction is also a major part of what makes her stand apart from other artists. Much like recently reviewed Lori McKenna, Sarah Jarosz has a vocal style that is instantly believable. She's not trying to sell anything; she's felt whatever it is that she's singing about, and listeners will, too.

The picking on this album really strikes me, as well. It's not necessarily a bluegrass kind of picking, either, or not so much in the traditional sense, but in each song it's striking and unique. Standout track "House of Mercy" comes to mind immediately with its infectious introduction and chorus. The sound of the song is so ominous and worrying, and the lyrics are quite dark, but listeners will find themselves singing along, anyway. "Back of My Mind" stands out as well, with it's finger picked introduction and tangible story of moving on. It's hard to adequately describe the arrangements on Undercurrent, but if I were to try, I'd say that they sound very natural and fitting for each song.

If I had to state what I like best about this album, it'd be that nothing seems unnecessary or arbitrary. There are no instrumental segments that seem out of place or forced, no show-off moments that threaten the overall composition of each song. Perhaps that is what I like most about Sarah Jarosz as an artist--she can show me how talented she is through overall compositions, as opposed to extended instrumental interludes or overly flashy picking that clashes with everything else in the song. At 25, she has an astonishing understanding of her craft and instead of going through a "look at me!" phase that some very talented artists do when they're younger, Jarosz displays restraint and respect for the songs as a whole. It's clear that there's a more refined skill level involved with the instrumental arrangements on this album, but the cohesiveness of it all is a major accomplishment.

Overall, Undercurrent is an excellent album hiding under the Americana umbrella waiting to be found and enjoyed by adventurous music fans. 9/10

Standout Songs:
"Early Morning Light"
"House of Mercy"
"Back of My Mind"
"Comin' Undone"
"Take Me Back"