Zoe Fitzgerald Carter - Waterlines (2021)

With a rich vocal timbre, the Bay Area’s Zoe Fitzgerald Carter’s 10-cut beauty of an LP Waterlines & opens with “These Words,” assured & catchy.

Zoe (guitar/vocal) originally from Washington, DC displays clarity in her diversified set. Some folk, funk, & storytelling. It’s a well-produced set, the sound is atmospheric. On “Below the Waterline,” Zoe sounds like she’s channeling the songwriting style of Nanci Griffith thru a Mary Chapin Carpenter tone. Zoe’s lyrics are applied with expertise. The accordion drenches the melody in a Parisian flavor. The showcase is refreshing. Zoe’s varied styles could have her easily compared to many past artists. However, Zoe manages to clearly maintain a striking style of her own. There’s little that contains cliches though it comes close at times. Zoe negotiates creativity with maturity & seldom fails. Even a rather simplistic song like “Only Girl,” has depth & is layered in a warm presentation that could’ve easily been a confection. It isn’t.

Acoustically the playing is superb & the conjoining of acoustic guitar picking & accordion on “Owl in Kensington,” is an expressive sign of creativity. Vocally, she’s reminiscent of Michigan singer-songwriter Carrie Newcomer (“Leaves Don’t Fall They Just Let Go”).

There aren’t any boring moments. They’re well-crafted songs. “These Words,” with the addition of Erik Jekabson’s flugelhorn gives the cleverly written song a Chuck Mangione-lite jazz tilt. Zoe soundly balances between genres easily. “Saturday Man,” goes samba & Zoe doesn’t over-reach. Her voice has a good supper club tone & next time a little piano would be ideal. My only issue isn’t the song “I Want to Be a Teenage Boy,” – a humorously clever exercise — but its influence.