![]() The recording process was a similarly slow and deliberate one, with Lambring and Morgan working together on the songs on-and-off over the course of an entire year, experimenting with unexpected instrumentation and blurring the boundaries between roots music and indie rock. “They were just these little seeds planted in my subconscious that I’d keep coming back to until I felt like I’d finally experienced enough life to sit down and express them.” “I knew I wanted to write some of these songs for years before I was actually able to put them into words,” she explains. All the while, songs for Lambring’s much-anticipated follow-up were already brewing. Lambring’s 2020 debut, Autonomy, was a critical smash, prompting Rolling Stone to hail her “John Prine-esque observation” and NPR to declare her “one of Nashville’s most fearless young singer-songwriters.” In addition to all the rave reviews, the album also landed Lambring on the cover of Tidal’s Rising Folk playlist, helped earn performances everywhere from Mountain Stage to the famed Bluebird Cafe, and led to an extensive US tour with Amigo The Devil. “Writing for myself allowed me to say what I wanted to say, to sing about what felt important to me, and that changed everything.” ![]() “It felt like my creativity had been rehabbed during that time away from the music industry,” Lambring recalls. Feeling adrift creatively, she picked up work waiting tables at a restaurant and quit writing for an entire year until a regular customer-legendary songwriter Tom Douglas-encouraged her to return to her craft, this time for herself. Born and raised in Indiana, she got her start in Nashville working as a songwriter on Music Row, but after five years of composing for other artists, she asked to be let go from her publishing deal and walked away from the music business entirely. Such deep and thoughtful reflection has been a hallmark of Lambring’s work from the very beginning. I think there’d be a lot more harmony in the world if we could just own up to our own shortcomings and forgive ourselves in the process.” “They say the things you dislike about yourself are the things you call out the most in other people,” Lambring explains, “and with this album, I wanted to see what would happen if I called myself out instead. The result is a record that lands somewhere between Phoebe Bridgers and Alanis Morrissette as it looks for the best by reckoning with the worst, an album full of love and grace and compassion that aims to remind us that imperfection and humanity go hand in hand. The arrangements are lush and hypnotic here, with Lambring’s breathy vocals floating atop a sea of dreamy synthesizers and shimmering guitars, and the writing is as raw and vulnerable as it gets, confronting everything from religion and trauma to body image and motherhood with unflinching honesty. ![]() Recorded in Nashville with producer Teddy Morgan (Carl Broemel, Elise Davis), the collection is a remarkable work of self-reflection from an artist determined to know her truest self (and to help us find our own true selves in the process). It’s that paradox that lies at the heart of Lambring’s stunning new record, Hypocrite. “Oddly enough, I think you can actually find a lot of comfort in exploring it, in facing it head on and seeing it for what it really is.” ![]() “I’m not afraid of the uncomfortable,” says Stephanie Lambring.
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