Joanne Shaw Taylor announces New Album and UK Tour

Sold out concerts. Screaming fans. Her name in lights. Joanne Shaw
Taylor never anticipated any of that at the start. Back then, she was
just an ordinary Black Country schoolgirl, bored with the disposable
pop she heard on late 90s radio, rifling her father’s record collection
for sunken treasure, and falling for albums by Stevie Ray Vaughan,
Albert Collins and Jimi Hendrix.

At 13 she played her first electric guitar. “Guitars were always
lying around the house,” says Joanne.  At 14, she defied her teachers
to play The Marquee and Ronnie Scott’s, and began to overcome
insecurity about her voice.

“I never set out to be a singer,” she modestly told Classic Rock. “I’ve always had a deep voice. I think it came from my influences as a kid.

When I was singing to records, I was listening to Albert Collins and Freddie King. When I was a teenager, I became a big rock fan: Glenn Hughes, Skin, Doug Pinnick. I wouldn’t get far on The X Factor.”

Joanne left school at 16 and ran straight into her big break, as a
twist of fate directed her demo into the hands of Eurythmics icon Dave
Stewart after a charity gig.

Reflecting on his first impressions, Stewart recalls that “she
made the hairs on the back of my neck stand on end.” His call the
following day proved the start of a lasting friendship, with Joanne
seeking his advice on the industry and accompanying his DUP supergroup
across Europe in 2002.

Stewart gave Joanne her first deal, but when the label ran into
financial trouble, it gave her a chance to regroup and work on her
songwriting. Until then, original material had perhaps been a neglected
side of her talent.

“I never really wrote songs until I was 21.” Suddenly the dam
broke. In 2008, Ruf won the rush for Joanne’s signature, and soon she
was working with veteran producer Jim Gaines (Carlos Santana, Johnny
Lang, Stevie Ray Vaughan), bassist Dave Smith and drummer Steve Potts
on the songs that became debut album White Sugar. “We
recorded it in this little backwater town in Tennessee,” she recalls,
“and if we needed a break, we’d walk to the shop and buy root beer.”

When White Sugar dropped the following year, taking in gems like Bones and Kiss The Ground Goodbye, it turned out the press had a sweet tooth, with Classic Rock crowning it Blues Album Of The Month and Guitarist noting “she plays with more attitude and flair than most – massive potential here”.

Soon enough, the buzz was building, with Joanne both raising her
profile supporting Black Country Communion, and honing her craft on
2010’s Diamonds In The Dirt. This second album was another step up, from the explosive lead breaks on Can’t Keep LivingLike This to the heavier influence of her adopted Detroit hometown on the crunching country-blues of Dead And Gone.
Not bad, considering she had written the material in just two days and
recorded it in less than a fortnight: “It’s the dreaded second album
curse. You have ten years to do the first one, and ten days to do the
second!”

By then, she was unstoppable, with Diamonds In The Dirt proving not only a classic record, but also a skeleton key to every door in the industry. Having received a nomination for Best New Artist Debut at the auspicious British Blues Awards for White Sugar, Joanne scooped consecutive wins in the Best British Female Vocalist bracket at both the 2010/2011 events: a haul that cements her position, as Blues Matters put it, as “the new face of the blues.”

Since then, it’s gone stratospheric, with Joanne breaking into the
notoriously hard-to-crack US market, beating the stereotypes of her
age and gender, and being watched by 17 million viewers as she played
an angel-winged solo during Annie Lennox’s set at the 2012 Diamond
Jubilee Concert.

That same summer gave us Almost Always Never; a
bar-raising third album that found Joanne dodging expectations, writing
the songs her muse dictated, and diving in at the deep end with just
her talent to keep her afloat.

Recorded in Austin, Texas, these twelve cuts moved from the savage Les Paul solos of Soul Station and the strutting hooks of Standing To Fall, to the failed relationship achingly depicted on You Should Stay, I Should Go
and the title track’s refrain of “You crash, you burn/you live, you
learn”. She’d never sounded more open and honest. “I’ve loved every
album I’ve made for many different reasons,” reflects Joanne. “But I’m
so proud of these songs. It’s the perfect and truest example of who I
am as an artist to date.”

Maybe so, but if you only know Joanne Shaw Taylor as the songwriter and studio magician, then it’s time you heard Songs From The Road.
Released November 2013 on Ruf Records, it’s a candid snapshot from the
road that makes your front room feel like the front row. “That night
was just really good fun,” she reflects. “And I think that translates
on the album.”

In May 2014, Joanne reunited with her White Sugar album producer Jim Gaines, and recorded her new studio album in Memphis.  The new studio album entitled The Dirty Truth
is a return to Joanne’s original sound that mixes rock riffs with blues
influences.  The album will be released in the UK on September 22nd
on Joanne’s own independent boutique label Axehouse Records.