Stephanie Sammons - Time and Evolution (2024)

Time and Evolution is the full-length debut for Texas-based singer-songwriter Stephanie Sammons, produced by provocative singer-songwriter Mary Bragg with an assist on certain songs from Guy Clark sidekick, Verlon Thompson. Those two lend some cred but these folk-based songs are all from Sammons’ pen, a set of honest, thought-provoking songs that examine what it means to grow up gay, and to live in this age of chaos and misinformation. Ultimately, positivity prevails and the discord of family, the role of church, and societal bias give way to one who is comfortable with herself. She shares her stories, surely relatable to many. It’s not only her emotional insights, but her emotional maturity that makes an impact. There’s no fluff here. Each song is inspired by indelible emotional experience or revelations that stem from her keen observations. Mary Gauthier, among others, champions her songwriting. Mary Bragg and Verlon Thompson are obviously advocating as well.

Opener “Make Me Believe” is not only about losing faith in love but in kindness. It was inspired by a stranger’s act of kindness in a grocery store parking lot when she had the bottom fall out of a grocery bag. A simple kind gesture changed her whole attitude. “Innocence Lost,” with Thompson recounts the story of as a ten-year-old shooting a bird with her grandfather’s BB gun, only to regret it, an incident that has stuck with her since. (“I feel shame like I feel the wind…I feel love like I feel the sun”) “Lazurus” is about that helpless feeling when being unable to lend a hand because it’s not within one’s control. Written shortly after the Uvalde shooting, this verse captures it perfectly – “When I was a little girl/I thought I was brave when I was breaking the rules/Now the children of today can’t go outside and play/They’re afraid to walk into school.”

“Year of the Dog” and “Faithless” explore the conflict of coming out gay in a strictly religious upbringing rich in poetic language and free of any real angst in her vocals. She’s long felt the wounds and can express them coldly and freely now with perspective. On the other hand, “Mend” takes a present-day perspective on ‘fake news” and manipulative media that has taken its toll on family relations, even down to simple discussions over dinner. (“We let scratches become cuts down/to the bone.”)

Her many thoughts and emotions converge in the standout “Billboard Sign” which mostly stresses winning back the love of her family, a postscript of sorts to “Year of the Dog.” She and her family eventually reconciled, learned how to agree to disagree. Inspired by the sign “Jesus Saves” that runs through the chorus, the thesis of the album is effectively centered in this verse – “I thank God for the Mourning dove/Blood isn’t always thicker than love/I thank God for time and evolution/And for a softened heart of resolution.”

“Living and Dying” with Mary Bragg on harmonies addresses the hopelessness of addiction while “Grow Up” with Thompson is about her exasperation in coping with her younger sister’s anger issues. She puts it all aside in closing with a beautiful tribute to her parents that have been married for 60 years. She’s found the good in both – he’s holding on to Jesus, and she, the submissive, but well-intentioned wife, is holding on to him. It’s not only a personal song but one that’s most representative of conservative, Southern religious culture, today deemed ‘the Evangelicals,” the same group she addressed indirectly in “Mend.”

In the past fourteen years Sammons has released two EPs prior to this effort while holding a ‘day job’ as a financial planner. It’s time for her avocation, songwriting, to take precedence. She’s put in her time and evolved to that point now.