Caitlyn Smith continues to astonish and impress with every new release that continues to paint the finer details of herself as an artist and human. Now, she has released High & Low, a new 14 track album – 8 songs of which, were taken from 2022’s High. These six new tracks fill in – literally and metaphorically – the gaps left by High, as a standalone project, blending authentic and raw songwriting with her signature vocal and genre-defying sound that straddles bluegrass, soul, country and pop.

The first new song on the record ‘Lately’ showcases the raw power of Smith’s vocal – a lush piano ballad about a lover being constantly on her mind. ‘Lately, I’ve been walking circles around my neighbourhood and reading Doestoevsky… you’ve been on my mind, lately.’ It’s a rare songwriter that can name drop Russian writers to Beethoven and not seem trite or pretentious. Instead, ‘Lately’ is a raw track, filled with longing, that builds to a huge crescendo, letting her vocal roar in a throaty ballad that threatens the likes of Alicia Keys and Adele for raw power.

Elsewhere, Smith knows where to rein that power in a notch. On ‘Mississippi’, she longs for home in a plucky acoustic driven track, pining over an ex lover – Mississippi itself – ‘am I still your favourite memory?’ do you ever miss me? It’s been a while, but you’re always on my mind / Sometimes it hits me, like a burning whiskey / That I’ll never really ever say goodbye / To you Mississippi.’ Here, she is accompanied by a male vocalist who nicely rounds out the track.

An easy standout from the record is ‘Alaska’ that packs the same emotional punch as pre-released later track ‘Maybe In Another Life,’ as she muses on the disconnection in a long-term relationship. ‘When you look at me, boy, you might as well be in Alaska.’ It’s a huge, heart-wrenching ballad that is brimming with raw emotion that breaks through in her vocal. A true masterclass in songwriting that is carried through on later track ‘I Think Of You,’ a sparse track about loneliness, loss and the breakdown of a relationship. ‘You knew, it was all going to come down crashing, still trying to figure out what the hell happened.‘ Smith is capable of packing more emotion into her vocals than near any other artist, and this track is no exception.

On the final two new tracks, ‘Writing Songs and Raising Babies’ and ‘The Great Pretender,’ you get further insight into who Smith is as a human. Firstly, as a mother, in this plucky, jauntier and jazzier track that paints a real picture of ‘a beautiful life’ albeit one that sometimes is a ‘circus’ or a ‘shitshow.’ It’s authentic and the anthem made for any parents. Finally, on ‘The Great Pretender,’ a bluegrass hued, plucky track, Smith sings about hiding her emotions under a smile, while nearly succumbing to anxiety. ‘Nobody knows I’m crying in a bathroom stall.‘ It’s relatable and honest, making it one of the more charming songs on the record.

Over the course of her career, Smith has earned a slew of awards as a songwriter, but one listen to this record is proof of just how worthy she is of those accolades. This record is flawless, both vocally but lyrically, one that deserves to be listened to on repeat, to appreciate each line for the polished, raw jewel that it possesses. What a wonder of an artist is Caitlyn Smith.

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Last year, Caitlyn Smith released her phenomenal project High, the first half of her new self-produced record. Smith has announced the completion of that project, adding six new songs to make her full record, High & Low, due April 14. 

On High & Low, Caitlyn Smith navigated the highs and lows of living life in the public eye – pretending everything was fine, while experiencing the lows on the inside. On the project, Smith learned to peel back the curtain, embracing all aspects of her life, including the “lows” she once kept private.   

“Lately” is the first taste of what’s to come from High & Low and is out now. The track delves even further into this human experience, detailing the attempt to overcome loss using a series of distractions.

“I’d realised that I’d grown into this version of myself that only wanted to show and talk about the highs and became quite dependent on keeping up this façade that I have it all together,” Smith details. “Real life is gritty, and wild, and never perfect, and it’s given me so much freedom to be able to be more vulnerable, not always put on a happy face, and be honest and unafraid of the more difficult feelings.”

Written by Smith with Gordie Sampson and Troy Verges, you can listen to “Lately” here: Lately (lnk.to).

The additional five new tracks capture the full picture of who Smith is as an artist and as a creator.

Track listing
1              High – Intro
2              High
3              Dreamin’s Free
4              Lately
5              Mississippi
6              Good As Us
7              Alaska
8              Maybe In Another Life
9              I Think Of You
10           Nothing Against You
11           Downtown Baby
12           Writing Songs and Raising Babies
13           I Don’t Like The World Without You
14           The Great Pretender

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Ahead of her UK visit in October, Monument Records’ acclaimed singer-songwriter and powerhouse vocalist Caitlyn Smith has released new single “Maybe In Another Life”, a show-stopper during her live performances; Lyric Magazine calling the song “spine tingling”. The track is taken from her widely praised new album High, which was released to glowing reviews earlier this year.

Smith will make a much-anticipated return to the UK in October for dates during Country Music Week, supported by Paris Adams on all shows.

UK Tour Dates

Tues 18 Oct: MANCHESTER Deaf Institute

Weds 19 Oct: GLASGOW Stereo

Thurs 20 Oct: LONDON Islington Academy (very few tickets remaining)

Tickets on sale: CAITLYN SMITH | AEG Presents

The visit follows Smith’s hugely successful performances at C2C earlier this year. “We had the best time at C2C earlier this year,” shares Smith. “I’m thrilled to go back to the UK now that new music from High is out. It was such a labor of love, born out of a really tough two years for all of us. I’m excited for us to all be in our feels together and share the new music live!”

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Country to Country is delighted to announce the return of Country Music Week, confirming shows in London, Manchester and Glasgow with a host of stellar names.

Country Music Week (CMW) will feature live shows and unique events across select venues in London, Manchester and Glasgow. The events will recognise and celebrate emerging artists within the broad spectrum of country music, give fans another opportunity to discover UK and US acts early in their career and connect fans with the stories behind the songs.

Tenille Townes returns to the UK off the back of a main stage triumph at C2C Festival 2022, where she opened up the main arena in style. Expect to hear songs from Tenille’s award-winning Columbia Nashville/RCA Records debut, The Lemonade Stand.

Powerhouse vocalist Caitlyn Smith will perform intimate shows following release of her acclaimed new album. Described by Billboard as “one of Nashville’s most versatile creatives,” Smith returns to the UK following memorable performances at this year’s C2C Festival, and continues momentum built last week in Nashville, where she played five shows across CMA Fest, including spots at the Grand Ole Opry and Country Music Hall of Fame.

Matt Stell and Elvie Shane will take to the stage together throughout Country Music Week, in what will be a unique chance to see two of country’s future superstars perform an electric set filled with their own hits and shared stories.

Nashville’s weekly, all-female songwriter round, Song Sufragettes, heads to the UK for the first time. A one-hour, weekly acoustic showcase, Song Sufragettes featuring five up-and-coming female country artists, performing exclusive, stripped-down sets.

Song Suffragettes alumni, including Carly Pearce, Tenille Arts, Lainey Wilson, Jillian Jaqueline, have consistently gone on to receive record and publishing deals. Over 300 women have performed at Song Sufragettes, whittled down from 2,000 applications, and 22 have received record deals, with over 45 artists receiving publishing deals off the back of these shows.

Made up of US and UK names, it promises to be an incredible line-up and is the best place to witness country music’s next star.

Today, we can confirm below concerts, with more names to be announced soon:

LONDON
Wed 19 Oct | Scala | Tenille Townes
Thurs 20 Oct | O2 Academy2 Islington | Caitlyn Smith
Sat 22 Oct | Bush Hall | CMW Hub activity | DAY TIME
Sat 22 Oct | Bush Hall | Song Suffragettes | EVENING
Sun 23 Oct | Bush Hall | CMW hub activity | DAY TIME
Sun 23 Oct | Bush Hall | Matt Stell & Elvie Shane | CO-HEADLINE / EVENING

MANCHESTER
Tues 18 Oct | Deaf Institute | Caitlyn Smith
Wed 19 Oct | Deaf Institute | Matt Stell & Elvie Shane
Sun 23 Oct | Band on the Wall | Song Suffragettes

GLASGOW
Wed 19 Oct | Stereo | Caitlyn Smith
Thurs 20 Oct | Stereo | Matt Stell & Elvie Shane
Fri 21 Oct | Oran Mor | Song Suffragettes

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On Friday, Caitlyn Smith will release her poised and enchanting new project – High – through Monument Records. The project is a thoughtfully composed and crafted record that showcases the breadth and vision of Smith as an artist in true command of her own artistry. Smith has already established her place as an enormously talented songwriter and vocalist, but by taking the reins of her own production here, she steps out as an artist of true vision, creating space to grow as an artist – infusing a multitude of genres and influences into her sound, in an incredibly authentic way.

The project is opened with the title track ‘High’ – recorded previously by Miley Cyrus – yet here Smith puts a brand new spin on the track that she co-wrote, showcasing her vocal prowess. It’s a soulful track, imbued with a reverential edge on the ‘Intro.’ Sonically, ‘High’ is a huge sound, featuring Amanda Shires on fiddle, as Smith sings about mourning a lost love and its lingering effects on her psyche. Smith’s vocal is the crowning jewel, pouring emotion into every breath as she easily covers either ends of her range, whereas following track ‘Dreamin’s Free,’ is a more muted vocal moment, allowing space for the lyrics to shine. It’s a whimsical track about the power and limitless nature of dreams – ‘Do you wanna sail the ocean or move to Yellowstone?
I can be your muse if you wanna be Van Gogh’ – and the imagery Smith infuses from Van Gogh to Paris, the Sistine and K-Pop is as rich as her production elsewhere.

Smith’s ability to pivot and experiment with her sound whilst still creating a cohesive project is clear on the following two tracks. ‘Good As Us’ offers a sultry groove as Smith sings to a lover about the incomparable nature of their love. ‘Shared a cigarette from a balcony in Mexico / With the red sunset dripping down in the sea / Drank a bottle of wine that I could find, in downtown Rome…Nothing / Is as good as us.’ The addictive groove of the production shows Smith’s power over her own artistry – every note and bar of instrumentation feels deliberate and thoughtfully composed. Later track ‘Nothing Against You’ has a similarly sultry feel, but here Caitlyn allows more space and time in this languorously rambling track about forgiveness in a relationship. ‘We can work it out, pull the covers down / It don’t have to be nobody’s fault.’ In this more stripped back track, she gives more space for her soulful vocal, allowing her raw emotion to permeate. ‘Downtown Baby,’ by contrast, is pure joy, as Smith sings about a night out downtown. ‘Take me downtown baby, hit the concrete / Pull me close and kiss in the street.’ It’s pop-tinged delirious fun.

The final two tracks on High show the true depth of Smith’s power as a songwriter and vocalist. On ‘Maybe In Another Life,’ Smith imagines a life where love continues. The track took on new meaning for Smith when she witnessed a close friend lose her husband. In that headspace, it is one of the most moving and emotionally complex moments on High. Accompanied by a transcendent orchestral section and piano part, ‘Maybe In Another Life’ is pure heart-break, especially on the final chorus, where Smith nearly teeters on the edge of losing control of her vocal under the weight of emotion.  ‘Oh, everything was real / From the way you kissed me to the way you made me feel / Oh, we burned out of control / And I’ll love you forever with the fire in my soul.’ On the other half of that coin, ‘I Don’t Like The World Without You’ celebrates being in the moment with a lover, mourning the moment of leaving as Caitlyn sings that none of the world’s joys mean anything without him. ‘I’ll take a jet plane, I’ll drink the champagne / Oh honey, it won’t hit the same without you / New York or LA, it’s all the same place.’ Here, she chose to strip back the track, with simple notes of banjo and guitar, allowing her vocal again to hit centre stage.

High is an extraordinary project, filled with raw emotion in all its forms, and it is Smith’s decision to self-produce the project that has elevated it to the extreme – showcasing her as an true artiste, in shrewd possession of her own artistic vision.

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Hello, how are you? You must be so excited, it’s the final stretch before the album release, I know it must always kind of feel exciting but nerve-wracking.

It feels like I’m at the top of the roller coaster like, ‘Oh my God, here we go’.

This is the first time that you’ve self produced a whole project, which gives it another layer. Obviously, you’ve always written songs and crafted your artistry but this is completely your voice in a way.

Yeah, for sure, it adds this extra layer of vulnerability that I didn’t know existed. I’ve always been curious and interested in the production element, but it somehow mystified me throughout the years. As lockdown happened, I was holed up in Minnesota writing songs for this album on Zoom. I started thinking on this tiny idea of ‘what if, what if I would take the chance to produce the record, what would it sound like to make a record?’ There’s all of the other voices out of the way. My first feeling was, ‘oh, that sounds terrifying’.

I heard this incredible quote, and I wish I’d screenshot it, but the sentiment is around choosing to be the fool, choosing to take the jump is such an incredible place to be – through that risk, you allow yourself the ability to grow. You open yourself up to change. This process has been scary, exciting, uncomfortable, it’s pushed me into this role of leadership with a record and ownership in my music that I didn’t know I could have as an artist and on the other side, I feel really, really empowered,

You should feel proud as well, because when this hit my inbox, I listened to it and was completely floored by it. I mean, there’s so much in there that goes into you self-producing it. I know you’ve always struggled with the idea of genre itself, because your music is such a melting pot – you’ve got the groovy stuff on ‘Good As Us’ but getting in your feelings on ‘Maybe In Another Life.’ So, how did you choose the songs for this project? It feels so rich, every song is very purposeful, and you don’t have a filler song on there – that doesn’t happen accidentally.

Yeah, totally. Well, I had a couple of philosophies when pulling the songs together for the record. This is my third album with Monument and I feel that as the years have gone on, I’ve been writing more for myself, because I spent so many years writing for other people, it’s become clearer and clearer what it is, I want to say as an artist. On one hand, I was thinking a lot about my live show and what journey of feelings I want to bring people on. The first song for the album I wrote was ‘High,’ which Miley Cyrus went on to cut, but I still really loved the song. I wanted to put my version out there, but I also have this song called ‘Low’ and there was this thing happening where the songs are really the highs and the lows that I’ve experienced in my life, and especially in the last few years. I wanted to take people on a journey of the highs and the lows as well. I probably wrote over 100 songs for the record, so it’s hard to narrow it down. These are the songs that really floated.

It was so interesting listening to Miley’s cut of ‘High’ and then yours, because both of you have such different unique tones in your vocals that it brings out different elements. Can you talk about being in the writing room that day, because you both bring out such different emotions with both your vocals?

Because of technology and the way that life is, I’ve actually never been in the room with Miley, which is crazy. I started the song with Jenn Decilveo in Nashville in a writing room and, and there was this kind of spiritual, gospel element that was happening in the chorus. We took that song and sent it to our publishers, and it just went around the ping pong of the music business and it ended up in the hands up Mark Ronson. He said, ‘This is gonna be perfect for Miley’ and he sent it to Miley, she loved it. So, she went through and changed some things on her version to make it her own, change some melodies, things like that. She really grabbed the song and made it her own – what you hear is her version, which I think is just brilliant. I’m obsessed with her voice and the emotion that she put into the song. I heard the song produced a different way and I wanted to put that version in the world that’s a little more let gospel-y.

Your vocal excels on it. One of the songs that jumped out to me on the record was ‘Maybe In Another Life,’ that I kept hearing people rave about at C2C. Can you talk a bit about that track?

I feel so grateful for a song like ‘Maybe In Another Life’ as a songwriter. I’ve written hundreds and hundreds and hundreds of songs through the years, but the most special ones are the ones that kind of find you. It was 10 o’clock at night and I just got smacked with this melody idea, which doesn’t happen very often. I grabbed a guitar and I was like, ‘What is this’ I started a recording on my phone and that melody that you hear just poured out. I was mumbling some words and brought it to my friend Jenn Decilveo and the song just happened. We dream of days like those. This feels really powerful and beautiful. I just kind of put it in the pile of songs for the record, but really what sent it over the edge, as far as songs that I knew I needed to put on the album was that my dear friend tragically lost her husband later last year. I was going through songs and it was right around the time of his funeral and I played that song back and it hit me in a different way. I heard her voice experiencing this song, maybe in another life, this wouldn’t happen and we would still be together and I’d be your girl, I thought ‘whoa, this isn’t just a breakup song’. There are so many levels here and I thought ‘this song is big.’ I feel so very grateful that the song found us one minute of a day.

I know you talked about writing with Jenn again and you’ve written some songs with her on the album, I guess talking about your songwriting process, do you find that there’s certain people you actually gravitate more towards to write material for your own artistry and then other people you find it easy to write external cuts with?

Yeah, totally. I have got a list of my favourite co-writers – people that I’ve written with through the years, I feel like they understand me and they want to go deeper. They want to pull out some magic in me, songwriters like Jenn, Gordie Sampson, Troy Burgess, Lori McKenna, Shane McAnally. I found those people through the years who get me and I feel safe  throwing out weird lines to them and know that they’ll be able to either go there or help fix it. I have a circle of people that I bring ideas that I have for myself to.

People who understand you. I know I talked about it earlier, but I feel like your reference points feel broader than genre – you mention Van Gogh, and then Kristoffersen, champagne in Paris… and it’s that that makes your music sit outside of genre. I guess, how have you found that process of being in Nashville and being part of the songwriting community, but having your music, art and artistry set apart from that, in a way?

Oh, wow, that’s a great question. I mean, I grew up in Minnesota. A lot of folks that you hear on country radio, or that are in Nashville, Southern culture is very heavy. I think I bring a different perspective, a different culture, different vibe, to the writing room, just being from the Northern part of the country. I feel that growing up in in Minneapolis, in that city, there’s a really rich music scene that’s full of indie rock and there’s a jazz scene. Bob Dylan and Prince are from that area. I definitely grew up listening to country music and I have all of that. I bring it to the writing room, I’m not afraid to expand my lyrics to different corners of the universe. I don’t think I always need to stay in a cornfield, or always stay in a tiny bar. I find so much joy in imagining and expanding my mind to those areas as a writer.

I think that’s why as a listener, it’s such a joy to listen to the songs because there’s so much specificity, and interesting things that you put in that when you listen back you pick up on different things, which makes it a more interesting listening experience. 

Awesome, I love to hear that. Thank you. I like to call the words like that crunchy words.

The final thing I was going to ask, I know that you’ve written a theme song for the new show Monarch. I wanted to ask how that experience was?

So this is crazy. ‘The Card You Gamble’  is actually one of the only outside songs that I’ve ever recorded. So, I didn’t have a part in writing it, but my dear friends, The Love Junkies – Liz Rose, Lori McKenna, and Hillary Lindsey – the three of them wrote this song. My label is in charge of music for the show and through that they thought what about giving me a hand at the theme song, to see if its’ a good fit. When I first heard the song, I was like, ‘This is so cool’. Knowing that it’s from three of my top favourite writers in Nashville, it was really, really fun to record. It’s fun to be a part of something like that. I got to film the music video for it on set, I got to be in an episode as well pitching one of my songs to one of the characters. I mean, I’m very excited about it all and it’s just fun to do somewhere different in music like a TV show.

Well congratulations again on this project, Caitlyn, and I really appreciate your time today.

Thank you so much. It was lovely talking to you. I hope to see you really soon.

The post INTERVIEW: Caitlyn Smith on New Album – High appeared first on off the record.

“How will you ever know what you’re capable of if you never try?” singer and innovator Caitlyn Smith asks. “For far too long, I’ve let this fear of failure sit in the driver’s seat. So, I leaned into a more supportive community, and I learned to trust my own compass. I was so curious to know what my music would sound like now. Through this process I’ve grown, and I’ve made a record I’m really proud of… a record that’s all mine. High.”

After spending the better part of 2021 in the studio, logging hundreds of hours self-producing her next album, the ACM New Female Artist of the Year nominee announces her forthcoming third album, High, set for release on April 8 via Monument Records. Pre-order available now.

“Self-producing has taught me so much about trusting my own compass,” says Smith. “It has been a beautifully terrifying experience and has added a layer of vulnerability when you’re also responsible for painting the sonic landscape as an artist, in addition to writing and singing the songs.”

The power vocalist has released new single “Downtown Baby”. The new release follows her arena-ready title-track released in January and written by Smith alongside Miley Cyrus and Jennifer Erin Decilveo (originally released by Cyrus on her album Plastic Hearts), of which MusicRow critic Robert Oermann notes “this single confirms the widely admired songwriter’s status as a first-rate record maker.”

This week, Smith returns to London as part of C2C (Country To Country) Festival, performing at Indigo at The O2 in London. Of Smith’s new music, BBC Radio 2’s Bob Harris opines, “It’s big and it’s dramatic and it is absolutely fantastic. I love this record.”

After spending the last year opening for George Strait, Reba, Little Big Town, and Old Dominion in stadiums and arenas across the country, Minnesota’s Mpls.St.Paul Magazine notes, “The mammoth-voiced, versatile, classic-country-loving vocalist whose songs mix acoustic Americana with gritty blues swagger and punchy pop hooks is fast becoming one of the most buzzed-about singers in Nashville.”

Smith just announced her own US headlining High & Low Tour 2022 which kicks off in her hometown of Minneapolis, Minnesota on April 1. The 13-city tour includes stops at New York’s Gramercy Theatre and at Brooklyn Bowl in Nashville, Tenn.

Caitlyn Smith – The High & Low US Tour 2022

4/1 – Minneapolis, MN – First Avenue
4/6 – New York City, NY – Gramercy Theatre
4/7 – Nashville, TN – Brooklyn Bowl
4/23 – Indianapolis, IN – HI-FI Indy
4/24 – Chicago, IL – Lincoln Hall
5/4 – Allston, MA – Brighton Music Hall
5/5 – Asbury Park, NJ – The Wonder Bar
5/6 – Philadelphia, PA – MilkBoy
5/7 – Alexandria, VA – The Birchmere
5/11 – Atlanta, GA – Vinyl
5/12 – Charlotte, NC – Visulite Theatre
5/13 – Savannah, GA – District Live
5/14 – Charleston, SC – Music Farm

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Singer-songwriter Caitlyn Smith has released the first single from her forthcoming album – High. The huge track features Smith’s unparalleled vocal, fearless production, and Amanda Shires on the fiddle and was premiered on “The Country Show with Bob Harris” on BBC Radio 2 last week, with Harris raving, “It’s big and it’s dramatic and it is absolutely fantastic. I love this record.” Written by Smith along with Miley Cyrus and Jennifer Erin Decilveo, “High” was originally released by Cyrus on her album Plastic Hearts. Smith now shares her own version of the song which also saw her take on the role of producer for the first time in her career.

“Self-producing has taught me so much about trusting my own compass,” shares Smith. “In the past, I’ve been guilty of looking for direction from everyone else. That’s why I decided to choose my own adventure. It has been a beautifully terrifying experience and has added a layer of vulnerability when you’re also responsible for painting the sonic landscape as an artist, in addition to writing and singing the songs.”

The soaring track finds the chanteuse mourning that lost love you can’t seem to shake, especially when you’ve had too much to smoke or drink, with her singing:

And in my head, I did my very best saying goodbye
And I don’t miss you, but I think of you and don’t know why

I still feel high
I still feel high

Caitlyn will visit the UK in March to perform at the prestigious CMA Songwriters Series on March 10 at Indigo at The O2, part of the C2C (Country To Country) festival. Look out for more live shows to be announced.

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Singer-songwriter Caitlyn Smith’s latest single “The Card You Gamble” (Arista Records/Monument Records) – the theme from highly-anticipated new US TV series MONARCH – is available now. The release precedes Caitlyn’s visit to the UK in March to perform at the prestigious CMA Songwriters Series on March 10 at Indigo at The O2, part of the C2C (Country To Country) festival, with more live shows to be announced.

With a penchant for storytelling, Smith has always carved her own path in Nashville, with her striking voice and lyrics. Outside her own artistry, she is an in-demand songwriter who has had cuts by Dolly Parton, Garth Brooks, Jason Aldean, Miley Cyrus, Meghan Trainor, John Legend and more. Produced by three-time GRAMMY Award nominee and series executive music producer Adam Anders and co-producer Peer Åström, “The Card You Gamble” was written by The Love Junkies, Hillary Lindsey, Lori McKenna and Liz Rose. “To jump into a song like “The Card You Gamble” that has so much drama, suspense and mystery was such a fun experience,” says the Minnesotan. “I love that the Love Junkies wrote the song almost as its own character in the show. The music is so central to the storytelling in MONARCH, and I’m just excited and honoured to be a part of it.”

“The Love Junkies wrote an amazing song that encompasses the themes of our show both lyrically and musically, but stands on its own legs,” shares Anders. “Caitlyn’s voice perfectly matches the sonic landscape that Peer and I wanted to create.”

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