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Po' Girl

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Po' Girl Biography

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Members include Diona Davies (joined group, 2003), fiddle, banjo, guitar, vocals; Trish Klein , banjo, guitar, vocals; Allison Russell , clarinet, guitar, pennywhistle. Addresses: Record company--Nettwerk, 345 7th Ave., 24th Fl., New York, NY 10001, website: http://www.nettwerk.com.

Imagine an old-time folk band fronted by three women, and also influenced by jazz, soul, and punk, and you have Po' Girl. Formed in 2003 in the midst of a vibrant Canadian folk revival, Trish Klein and Allison Russell were soon joined by Diona Davies, turning a part-time duo into a committed, innovative trio. Close collaboration between the three performers on songs and arrangements resulted in a carefully textured sound that referred to traditional folk music without ever attempting to copy it. In 2003 critics warmly greeted Klein and Russell's self-titled debut; in 2004, critics marveled once again at the breadth of the band's material on Vagabond Lullabies. Like the Be Good Tanyas, of whom Klein was a founding member, and HEM, Po' Girl soon established a loyal following and garnered positive reviews. "It's the lazy sway of Po' Girl's music, a hypnotic and humid sway that's hard to resist," wrote David Jeffries in All Music Guide.

Klein formed Po' Girl in 2003 when Be Good Tanya's member Frazey Ford took maternity leave. She also hoped that a new band would provide her with more room to compose and sing her own songs. Klein told Douglas Heselgrave in the Music Box, "I [now] do more arrangement and musical accompaniment. I think that I was really repressed in [the Be Good Tanyas], in terms of whether it was okay to contribute." She and Russell had jammed together as far back as 2000, but both were committed to other bands at the time. As a founding member of the Be Good Tanyas, Klein was busy with the group's first album and touring, while Russell worked with Fear of Drinking. The duo, christened as Po' Girl, were soon in the studio recording their self-titled debut.

Although Nettwerk, the Be Good Tanyas' label, offered to release Po' Girl in 2003, Klein and Russell opted to issue the recording on Jack Schuller's Jericho. "It's nice to be able to call someone up when you need to work on something," Klein told Heselgrave. "They're local and easy to reach." The album was released in the United States on HighTone Records. The simple loose arrangements and harmony of Po Girl was similar in style to the Be Good Tanyas, but Klein and Russell were able to develop their own approach. Klein's ability to switch between the banjo and guitar gave the duo versatility; Russell's soulful vocals, often described as a cross between Tracy Chapman and Natalie Merchant, and her clarinet and pennywhistle work, also helped define Po' Girl's distinct sound. Klein explained the difference between Po' Girl and the Be Good Tanyas to Paul Sexton in the London Times as "different people, different songs."

When they embarked on a summer tour following the band's debut, Klein and Russell decided to add a third member. While Klein was familiar with Davies's skill as a fiddler, they had only met briefly. "I managed to get her e-mail, and I was talking to Allison about her as if I knew her really well," Klein told Heselgrave, "and said, 'wouldn't it be nice if we could meet another girl to play some of the other instruments?'" Davies played fiddle and piano, and had studied at the Royal Conservatory in Victoria, British Columbia, for two years. Klein emailed Davies, inviting her to join the tour. Po' Girl also added a bass player and a drummer for the tour.

In 2004 an expanded Po' Girl, supplemented by many friends, entered the studio a second time. As with the first album, the group built their sound by combining harmony, spare arrangements, and unusual instrument choices. Songs like Klein's "Mercy" created a loose, relaxed groove, while Russell's "Movin' On" added a resonant, soulful quality. One of the most noted additions on the new album was C.R. Avery's contribution to "Take the Long Way" and "Driving." The compositions opened up for Avery's word poems consisting of a barrage of images and references. Guest appearances also graced a number of the tracks on Vagabond Lullabies. Frazey Ford and Sam Parton from the Be Good Tanyas added harmony, as did folk-punk performer Ani DiFranco. Produced by the band with John Raham, Vagabond Lullabies showed the band growing in new and exciting directions. This time, Po' Girl chose to release the album on Nettwerk, affording the release a wider distribution.

Critics gave Vagabond Lullabies an upbeat reception. "This is a sweet little gem showcasing some of the finest acoustic musicians Canada currently has to offer," wrote Sue Keogh of the British Broadcasting Corporation (BBC). Avery's contributions were likewise noted. "Hip hop poet C.R. Avery effectively adds spoken word passages to a couple of songs," wrote Mike Regenstreif in Sing Out!. In 2004 Po' Girl also embarked on 13-date tour of England that included a three-day festival in Glasgow. "Anyone who liked the Tanyas," wrote Steve Johnson in England's Birmingham Evening Mail, "is sure to appreciate Po' Girl, with the band creating nostalgic musical reminders of days gone by." Keogh concurred: "Try and catch them on their UK tour this autumn--it'll be the most quietly charming gig you'll enjoy all year."

At the beginning of 2006, Klein continued to juggle her roles in Po' Girl and the Be Good Tanyas. Both bands planned to release albums in 2006. "It's been a very hectic two or three years--I don't seem to have stopped really," Klein told Johnson, "but when you are doing something this enjoyable it doesn't matter." Meanwhile, Po' Girl continued to tour at the beginning of 2006, traveling to Oregon, California, New Mexico, and Texas. Speaking of the band's inner workings and growing fan base, Klein told Johnson, "We all get on really well together and so far our audiences have really taken to our sound." By radically re-imagining how folk music can be performed, these "urban minstrels," as an early bio described the group, have attracted a new generation to folk music. "Obviously, Po' Girl is being recognized as a musicians' band," wrote Cindy Filipenko in Herizons. "Let's hope they get equal acclaim as a music lovers' band."

by Ronnie D. Lankford Jr

Po' Girl's Career

Trish Klein and Allison Russell formed Po' Girl, 2003; issued debut, Po' Girl, on Jericho (Canada) and High-Tone (United States), 2003; joined by Diona Davies, 2003; recorded second album, Vagabond Lullabies, for Nettwerk, 2004; toured Britain, 2004.

Famous Works

Selected discography Po' Girl Jericho/HighTone, 2003. Vagabond Lullabies Nettwerk, 2004.

Further Reading

Sources Periodicals Birmingham Evening Mail (England), January 30, 2004, p. 47. Herizons, Winter 2004, p. 32; Spring 2005, p. 44. Sing Out!, Spring 2005, p. 138. Times (London, England), January 30, 2004, p. 13. Online "Down Wind With Trish Klein," Music Box, http://www.musicbox-online.com/ (January 10, 2006). "Po' Girl," All Music Guide, http://www.allmusic.com/ (January 10, 2006). "Po' Girl," Vagabond Lullabies, BBC, http://www.bbc.co.uk/ (January 10, 2006).

Po' Girl Lyrics

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Visitor Comments Add a comment…

almost 15 years ago

this site is incredibly out of date and that album image doesn't belong to this band. please check out www.pogirl.net

over 16 years ago

We just had the great good fortune to hear Po' Girl in Pinos Alto, NM, tonight. Their talent is incredible. We've been attending blue grass and folk concerts for years and feel this concert was the best ever. Each artist is versatile and wonderful. If you get a chance to attend one of their concerts, GO!!

Originally hailing from Canada, Po' Girl weave a blend of musical influences, sweetness, grit & soul into their fresh and original sound. Since the more...

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Past Events

Here are the most recent UK tour dates we had listed for Po' Girl. Were you there?

• Apr 14 2012 The Torphichen Inn Po' Girl
• Apr 13 2012 Banchory, Arts Centre Po' Girl
• Apr 12 2012 Bury, The Met Po' Girl
• Apr 11 2012 York, The Duchess Po' Girl
• Apr 10 2012 Otley, Korks Wine Bar Po' Girl
• Apr 08 2012 Po' Girl
• Apr 07 2012 South Petherton, David Hall Arts Centre Po' Girl
• Apr 06 2012 Penryn, Miss Peapod's Po' Girl
• Apr 05 2012 Newbury, Arlington Arts Po' Girl
• Apr 04 2012 London, Orange Yard Po' Girl

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About po' girl.

Po' Girl is a group founded 20 years ago on Wednesday, 22 January 2003 in Vancouver, Canada.

Based on our research data, it appears, that the first Po' Girl concert happened 21 years ago on Tue, 04 Nov 2003 in Purcell Room - London, UK and that the last Po' Girl concert was 12 years ago on Thu, 20 Sep 2012 in The Blue Walnut Cafe - Torquay, UK.

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Last information data update: 8 days ago

Downwind with Trish Klein

First Appeared at The Music Box , January 2004, Volume 11, #1

Written by Douglas Heselgrave

It’s a hot, early autumn afternoon in East Vancouver. The sun is pouring down as we’re sitting out on the deck, enjoying the view of the garden and back lane. It would be idyllic if not for the wind reminding us of what’s going on at the nearby chicken rendering factory. Trish Klein is doing her best to answer my questions and follow the threads of our conversation, but she’s clearly distracted. Twice she gets up and lights joss sticks. "Damn chickens. It’s partly why I’m a vegetarian. My incense bill is out of this world living here." She laughs, and we move inside.

Klein has spent the last four years touring and recording with the Canadian alt-country trio The Be Good Tanyas , and we’ve gotten together to discuss her other band Po’ Girl , just as the group is preparing to embark on a North American tour. Begun as a side project to fill time during the BGT’s maternity leave — co-lead singer Frazey Ford has just given birth to a baby girl — Po’ Girl has definitely taken on a life of its own. A short summer tour coinciding with the release of the group’s debut earned her and partner Allison Russell rave reviews all across Canada. Klein seems taken by surprise and is in a reflective mood when I ask her about Po’ Girl’s success and the future of The Be Good Tanyas.

DH: Did Nettwerk, The Be Good Tanyas’ label, have a reaction to your wanting to work and tour with a different band?

TK: We gave them the opportunity to make us an offer on the CD and they did, but we decided it would be nice to be on a smaller label. Nettwerk was preoccupied by their bigger acts. With Sarah McLachlan putting out a new album now, they seemed ambivalent about us, and we thought it would be nice to be more of a focus for the company representing us. Jack Schuller’s label (Jericho Beach) was really excited, and they wanted us right away. It’s nice to be able to call someone up when you need to work on something. They’re local and easy to reach.

DH: Is Po’Girl you and Allison, or do you have a band?

TK: There’s a third member now. Her name’s Fiona, and she’s amazing. She’s played fiddle since she was three. She’s not on the CD, but I met her in Santa Cruz several years ago. She was playing with a jug band. I’d seen her playing in other bands and thought she was really amazing, and I’d always wanted to play with her. It turned out that she always wanted to play with me, but neither of us knew each other. I managed to get her email, and I was talking to Allison about her as if I knew her really well, and said "wouldn’t it be nice if we could meet another girl to play some of the other instruments?"

I wrote to Fiona and thought maybe she might want to tour with us, and because we were planning to go to America, I needed to know for the visa. I wrote her and told her who I was and that we’d met a bunch of times and that I was wondering if she wanted to tour with us, and I asked her to send me all of her information so I could apply for a visa. So, she wrote back and said, "ok" — even though we’d never even hung out — and she asked how to join the union. Yeah, we’re used to doing this all the time. So much of music is paperwork — especially if you want to play in the States. There’s this big intimidating American flag on all the paperwork.

DH: So, is it just the three of you who travel together?

TK: We also have a rhythm section — bass and drums. Sometimes, we can’t even afford a bass player. The three of us have been rehearsing a lot. We haven’t been able to rehearse with the drummer much because he plays in this hardcore political band that’s always out on the road. He’s an amazing drummer — an old-school, anarchist punk.

DH: I see you wrote a lot of songs on the CD yourself. How do you feel about having someone else sing them?

TK: We write together collaboratively, where I write music and [Allison] writes lyrics. But, I also write lyrics. Usually, she sings lyrics she’s written. The songs that are just credited to me, I’m singing them.

DH: Have you thought about putting out a solo CD?

TK: Maybe one day. Since we’ve put out the album, we’ve written a lot more songs, and we’ve done a lot more collaborations where I’ll write a song and have Allison write a verse. She’ll just sing a verse in my song, or a bridge. It’s been very interesting, having her spontaneously sing a different section. We’ve just written a song where we trade verses and we’re singing two different perspectives of the same situation, and that’s really interesting.

DH: When you’re writing a song, can you tell what’s for The Be Good Tanyas and what’s for Po’ Girl?

TK: Well, I don’t write for BGT. I do more arrangement and musical accompaniment. I think that I was really repressed in that band, in terms of whether it was okay to contribute. There was Frazey and Sam [Parton], who were much more confident in their songwriting. I wrote songs, but I always felt like I couldn’t share them with the band because I didn’t feel like they saw me as a songwriter. They just saw me as a multi-instrumentalist. That was more my role because they could only play guitar and sing, whereas I developed the texture and the solos. I was just content to do that, but I felt like I wanted to write more. I got a lot out of helping bring songs to formation. If Frazey had a song, but it was not completely flushed out, I would really get into adding the other instruments. I contributed ideas to all of the songs on some level, by coming up with how the banjo and guitar could work together, for example. I figured out where the harmonies came in. I can’t think of anything specific. For traditional songs, like Rain and Snow , I was the one who decided to move it into a reggae direction. I came up with a bass line to give the bass player. I put a reggae-esque groove on the banjo. I gave the drummer breaks and pauses, but mixed a folk-y groove into it, too. I came up with the ideas on how to reshape a traditional song so it’d be ours.

DH: The first BGT CD is very different in feel from the second one. I find that Chinatown lacks a lot of the freshness and spontaneity of Blue Horse .

TK: What happened was we toured so much that we didn’t have time to work together very much. Me and Frazey were doing a lot more collaborating and working on songs than Sam and I, or Frazey and Sam. The album is dominantly Frazey’s vocals because we worked on more of her songs. So I think this album wasn’t as balanced as Blue Horse was because we weren’t working together as a group.

DH: I think the second CD has very good songs, but it doesn’t flow in the same way.

TK: Yeah, well, me and Frazey worked separately from Sam. So, Sam’s songs are really Sam, and the other songs are me and Frazey. There’s not the cohesion of the three of us. I was working a lot on the musical aspects of those songs, and I think I did a lot of work that I’m proud of — instrumental work — but I think the whole thing is mixed too low.

DH: I agree. I always have to turn it up, because I can feel sounds that are hinted at, but…

TK: I know! You can just hear the singers! I thought we’d have a chance to remix, but because we did it to analog, we couldn’t just go back and change it easily. We’d have to take a whole day to remix and change the volume of one thing. Before I knew it, the whole thing was printed. When I listened to it after that, I said, "you know it’s too low," but I didn’t think that it was a big deal and thought we’d have a few days to finalize things, but we couldn’t remix anything. So, yeah, I feel like the whole album is badly mixed.

DH: Maybe one day we’ll get to hear the remixed version.

TK: No, I doubt it. It costs a thousand dollars a day to rent those remixing studios, and you have to pay the engineer. Then, you remaster it…huh.

DH: If you get really famous, maybe it’ll be a lost classic and...

TK: No, oh well, though. Yeah, it wasn’t just the sound. The whole thing wasn’t as much of a group effort. The dynamic of the band had changed so much.

DH: You did play one show together this summer. Did you rehearse for that? How did it feel to play together again after all the stress of the last tour?

TK: We had one rehearsal. It was fun. It was fun to play because I realized after I’d been away for a while that the songs are actually very good. It is good to play music that’s inspiring. I thought it was really beautiful music that we made together. It wasn’t all fraught with emotion and being on tour and being frazzled. It’s like being in a marriage. There is a lot of expectation.

DH: Do you have a vision of what you want the band to be?

TK: Yeah! I guess so. I’m not sure what everybody else’s vision is. I always thought I wanted the band to be a real collaborative, creative, fun thing, and, probably, everybody else started off wanting the same thing.

DH: Did you ever think the band would go as far as it has?

TK: No, not at all. I think that we always just thought that the best we could do was get into some Canadian folk festivals. That was our goal. Then, we did England and kept on touring. I guess its been a lot more successful than any of us thought it would be.

DH: Did Nettwerk’s involvement change things?

TK: Well there was a lot of momentum for the band anyway. We were already selling out shows and seeing line-ups of people down the block. There were a few other labels bidding on us and wanting to take on the band. One way or another, things were moving that way. There was a real sense that it was supposed to happen. So much was going on to make it move rapidly. It was definitely a rush. Suddenly, we were on tour in unexpected places, getting all this attention. People were showing up at shows and saying things like, "I produced an album with Tom Waits, and I want to produce your next album."

There was all this attention from industry people, and when you first get that, it’s really surprising to realize that people like the music you play.

DH: How do you account for your good fortune?

TK: It was a lot of things. We were locked in with the alt-country phenomenon. We got in with that thing. It was a bit of a wave that we rolled on. There were a lot of good musicians and …. I met Gillian Welch in Nashville, and she was amazing. Her voice is so unique. She’s friends with the Old Crow Medicine Show who we toured with on the West Coast. She and David Rawlings are producing their album. The two of them went and bought this famous, old studio in Nashville where Hank Williams recorded. They’re such a cute couple in their folk-country, geek-cool way. They buy extra seats in the plane for their vintage guitars because they can’t bear to be separated from them.

DH: How long is Po’ Girl going out on tour this time?

TK: Six weeks. We’re playing New York at the Bottom Line and in Brooklyn. There are very few places in North America that have the multi-cultural, cosmopolitan vibe that New York has. Art, music, everything — it’s all packed into this space, and it’s all very dense. It’s the opposite of LA, which is so sprawling. New York is all packed in and condensed into these micro-communities that may be only a block long but are very intense. The Bottom Line is an awesome club, and the audiences are great. They are listening audiences who come to hear music. The people who come to your shows have already heard your music.

DH: They know your music in the States?

TK: Yeah, there are some obsessed Tanyas fans who have been known to drive 19 hours to come and see us. There is this one fan who shows up at every show in North America. We see him in every city.

Douglas Heselgrave is a freelance writer, living in Vancouver.

Po' Girl is available from Barnes & Noble. To order, Click Here !

Copyright © 2003 The Music Box

This Magazine

Progressive politics, ideas & culture

Po’ Girl sings out against childhood abuse with 2010’s “No Shame” tour

Jenn Hardy Website

Po' Girl band members, from left: Benny Sidelinger, Allison Russell, and Awna Teixeira. Photo courtesy the band.

When her adopted father and longtime abuser was let out of prison, Alli Russell channeled her turbulent feelings into a deeply personal song called “No Shame.” That song has become a continent-wide charity tour by Russell and her urban roots band, Po’ Girl , to support victims of childhood sexual abuse.

“It was a three-year sentence for 10 years of torturing a child you’re supposed to be caring for,” says Russell. She is open about her experiences, and believes this will raise awareness and prevent other children from being abused. With this in mind, Montreal-and Toronto-based Po’ Girl embarked on its 2010 No Shame Tour, hitting 40 cities across North America in three months. The band donated partial proceeds from merchandise sales and collected donations on their website for National Children’s Alliance in the U.S. and Little Warriors in Canada.

“I think it’s important not to be silent about my history,” says Russell. “That was part of the abuse. Predators want you to feel alone in the world and that no one cares, but that’s not true. Most healthy and sane people don’t want to hurt others and they don’t want to stand by while others are hurt.”

Heavy stuff—but Russell and the rest of the band, including multi-instrumentalist and singer Awna Teixeira, dobro player and luthier Benny Sidelinger, and drummer and keyboard player Mikey August, maintain their optimism by focusing on the ability of music to effect change.

Russell says she can see that change every time she gets on stage. “We had people speak to us after shows and write us really touching emails. So we thought we could take it a step further, and turn it into something positive.”

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“With enough sultry ambiance to be at home in either cocktail lounge or New Orleans street corner, Po’ Girl features a simple, polished production of wistful, plaintively slurred vocals over a sparse yet warm jazz-folk accompaniment of guitar, stand-up bass, harmonica, banjo and clarinet. Americana can seem like a language from a forgotten era, but Po’ Girl’s sentiment never feels forced, the lyricism never cliché or false. They manage to maintain that traditional and nostalgic sound while breathing fresh life into an old-fashioned genre.” - Rolling Stone

“Their richly textured music conveys a late-night, jazzy, improvisational feeling, thanks partly to Russell’s wonderfully dreamy clarinet flourishes, the understated production, and soulful vocals that eschew perfect harmonies in favor of loose-knit, spontaneous-sounding interplay.” - AllMusic

“What separates Po’ Girl from so many other folky groups with multiple singers is that no matter how sweet their voices are, what really stands out is the mesmerizing groove. They’re fine songwriters, too, but that’s not what first hits you. It’s the lazy sway of Po’ Girl’s music, a hypnotic and humid sway that’s hard to resist.” - AllMusic (2)

“Po' Girl has the same womanly (not girlish, mind you) croon of the 1920s and '30s blues mamas - yet their music isn't of another era.” - No Depression

“...these girls are anything but po’ at what they do.” - L.A. Daily News

“…likely to win over even more folk fans…” - MTV News

“This is a sweet little gem showcasing some of the finest acoustic musicians Canada currently has to offer.” - BBC, Folk and Country Review

Po' Girl Deer in the Night (Po' Girl) First Appeared in The Music Box, May 2009, Volume 16, #5 Written by Douglas Heselgrave Wed May 27, 2009, 06:30 AM CDT Po’ Girl has undergone its share of changes in the last few years, but rather than sinking the outfit, they have spurred its growth and made it stronger. The band originally started as a side project that united The Be Good Tanyas’ Trish Klein and Fear of Drinking’s Allison Russell. Assuming a life of its own, Po’ Girl not only has managed to outlast both of its predecessors, but it also has become one of the most interesting and diverse roots-oriented outfits touring and recording today. Longtime fans of Po’ Girl quickly will identify the most obvious difference between Deer in the Night and the group’s trio of earlier endeavors: Both Klein and multi-instrumentalist Diona Davies have left the band, which leaves Russell as the only founding member to remain. The good news is that Klein and Davies’ replacements — vocalist/guitarist Awna Teixeira and virtuoso string player Benny Sidelinger — fit beautifully into the ethos of Po’ Girl’s genre-hopping minstrel-show, which unequivocally makes Deer in the Night the ensemble’s best album yet. Po’ Girl’s influences typically have run the gamut from hip-hop to vaudeville. Not surprisingly, its approach has been so wide-sweeping in scope that it occasionally has threatened to derail the band’s melodies. Teixeira and Sidelinger, however, have the vocal and instrumental chops that are necessary for smoothly traversing this terrain. Consequently, they evenhandedly carry the songs across a broad range of musical ideas. Lyrically, Po’ Girl’s songs have never been stronger. The group now sounds as if it has blossomed to the point where it credibly can deliver the hard-luck narratives that it has been sculpting since the release of its self-titled debut in 2003. The material on Deer in the Night exudes degrees of authority and authenticity that sometimes have eluded the outfit in the past. This time around, there’s something ineffable in Russell’s vocal delivery, and it allows her to convey the kind of understanding of her subject matter that can only be provided by the experiences of life. As a result, the characters who inhabit her songs have more depth, and the stories that Russell fashions around them ultimately become three-dimensional. Tracks like No Shame, a harrowing tale of sexual abuse, come across as developed, mature, and masterful. Like Klein, Teixeira adds country-imbued dimensions to Po’ Girl’s style. Otherwise, the similarities between the musicians end there. While Klein had a lovely sense of melody as well as a pleasant voice, she largely remained in the background. In contrast, Teixeira’s contributions are placed front-and-center throughout Deer in the Night. She is a powerful yet nuanced vocalist whose contributions, such as Gandy Dancer and Dig Me a Hole, are among the best tracks on the effort. Po’ Girl arose amidst the popular, alt-country scene at the turn of the millennium. Where many of the group’s peers either have altered their focus or faded away, Po’ Girl has proven itself to be remarkably resilient. Transitions can be difficult, of course, and frequently, they have sounded the death knell for fledgling outfits. Yet, Po’ Girl has managed the difficult task of retaining everything that was compelling and beautiful about its original lineup. At the same time, it also has made the sorts of decisions that will assure its continued artistic growth. In other words, with Deer in the Night, Po’ Girl has proven that it has what it takes to survive for the long haul. Read more: http://www.musicbox-online.com/dh/review/05272009/po-girl-deer.html#ixzz0SEgNCO0d - The Music Box, May 2009

po’ girl: deer in the night (2009) March 30, 2009, 10:19 am Po’ Girl Deer In The Night •••• Self-released In an age where advertising cultivates a market into which it can sell its product – in other words, tells the consumer what she or he should need – popular music is a tool that’s ripe for exploitation. Records are products with an exchange value; we, as consumers, like to collect them, enjoy the artwork, the fact that we own a piece of the singer or band that we like; we develop relationships around these products, as a record collector may boast of their hard-to-find Raincoats EPs. And not only are these products commodities, so is the very notion of artistic expression and youthful rebellion. We can all be a guitar hero on the PlayStation, even though we might have a beautiful shining electric guitar in the corner that we never play, and so the electric guitar has become the signifier for the notion and a commodity in its own right. And so rock ‘n’ roll and rebellion has become a commodity in its own right, and this is where Marx brings us to the conclusion: with popular music increasingly absorbed in the means of production, with its own exchange value, where do the impulses that created that music in the first place now lie? What relationship does a factory worker assembling Guitar Hero Fenders in China have to the culture that it signifies? Is it a question of rescuing those things that produced the music in first place, and can we break into new territory and redeem popular music? Maybe not. In a rearguard defence, the uncorrupted and true spirit of music is upheld by acts like Po’ Girl. For those unfamiliar with the band’s three previous albums, put simply, if you like the down-home harmonies and bittersweet feel of The Be Good Tanyas, this music is for you. Tanyas member Trish Klein has, in the past, lent her services to Po’ Girl – this is their first album without her – though any similarity between the two groups ends beyond the first cursive listen. Allison Russell and Awna Teixeira, along with relative newcomer Benny Sidelinger, have carved themselves a niche in a rather expansive alternative folk scene. A rattle bag of Americana that spans from the Mississippi Delta to the Paprika Plains of Saskatchewan, their songs are woven together like thickets of prairie grass. Though Po’ Girl are certainly ambitious in their approach to their music, Deer In The Night never comes across as pretentious. On the band’s Myspace, their music is classed as “urban roots”, which is rather apt considering that they come from Montreal and Toronto but sound as rural as sharecroppers. The percussion dances around the edges of the music, making a soft 4/4 stride that will have your head nodding in time, probably before you even notice. The opening (and title) track is one of the best on the album and sounds like an old gospel tune with its interweaving two-part harmonies. Other immediate standouts are ‘Dig Me A Hole’, with its clarinet-driven introduction and funky electric piano, and ‘Grace’, a beautiful piece of power pop with a melancholic chorus that makes the heart flutter. Deer In The Night is definitely a grower and, like a good wine, will need time for the individuality to shine through. Po’ Girl demonstrate the art of understatement very successfully. In every song, the greatest effect is achieved by the most economical means, allowing the listener to pick out each part of the melody as though every string pluck and bell jingle holds the song together. Some of the darker lyrical themes on the album, in particular those concerning traumatic childhood experiences, are both heartbreaking and hopeful. Our current fascination with trauma memoirs and biography is certainly catered for with this kind of subject matter. Of course, one of music’s greatest functions is its therapeutic power of redemption and catharsis, and in this sense alone a commodity this music is not. Dan Everett - Wears the Trousers

Williams • Mar 13th, 2009 • Category: CD Reviews Po Girl Deer in the NightPo’ Girl Deer in the Night www.pogirl.net Canada is, like, this whole other country. They apparently are secretly responsible for about half of the music we think of as American. Joni Mitchell, Neil Young, Leonard Cohen? All Canadian. Comes now Po’Girl–two women, Awna Texeira, and Allison Russell, one Torontonian, one Quebecois–sneaking across at Windsor, Ontario, to conquer us all over again. They’ll be at the Mill March 4th. Be sure and make them show their passports. For all their sneaky, English-speaking foreignness, I think these women are exactly the sort of music that fits perfectly in Iowa City. The banjo and accordion and minimal drum kit would go down great with Will Whitmore and the Escape The Floodwater Jugband. They write sweet songs that fit their voices like old clothes too, and their unruly dueling vibratos recall their fellow countrywomen Kate and Anna McGarrigle. But while they’re acoustic folkies in the broadest sense, what intrigues me about their sound is that they’re much odder and more interesting than that. Touches of jazz idiosyncrasy in their their vocal lines, echoes of French chanson, hints of the deliciously odd Nova Scotian folk, all mix together into an organic whole. What makes this CD special is their unique approach to vocal harmony. Their voices always add up, but each singer’s natural rhythm is different, so they sound perfectly together and ready to fall apart at the same time. One has husky voice with reedy overtones, one has the edgy sweetness of Emmy Lou Harris. All joking about Canada aside (and who can resist that?), Po’Girls is rough and smooth, sweet and tart, and would be huge stars in that super-cool alternate universe I’ve always wanted to live in. And, they sent me a picture postcard of Ontario, how cool is that? - Little Village

Discography

Po' Girl (2003) Vagabond Lullabies (2004) Home to You (2007) Unreleased (2008) aka Sofia "No Shame" (2007) Deer in the Night (2009) Po'Girl Live (2009) Follow Your Bliss (2010) Live at Blue Rock Studio, TX DVD

Po'Girl Biography:

The beauty and mystery of Po Girl's music - a sound that has beguiled fans the world over - springs from the mesmerizing bond shared by its two lead singers and writers - Allison Russell and Awna Teixeira. Hailing from Montreal and Toronto respectively, both women left untenable home situations at fourteen, found music instead of bad ends, and lived to sing the tales. The interplay between these two stunning performers is truly something to behold. You'll hear echoes of speakeasy jazz, the western lament, the accordion-strapped ghosts of European folk accompanied by the wail of the clarinet in the music of Po'Girl-- but it's delivered with a soulful clarity, and depth of feeling that makes it all their own.

It seems almost silly - and not very interesting - to trot out a long, endlessly hyphenated list of the many influences coursing through Po Girl's music. Suffice to say it's 21st Century roots music - North Americana if you will--never derivative, not faithfully aping a beloved tradition. Teixeira and Russell don't re-hash the old forms, they reshape and reinvigorate them for new ears.

Since Po'Girl's birth in Vancouver, BC in 2003- Russell and Teixeira (and an ever revolving cast of stellar musical friends), have averaged over 250 days/year on the road --bringing their inimitable roots revelry to 13 countries, and 4 continents-- winning over new fans and friends everywhere they go. With 5 internationally critically acclaimed studio albums, a live album, a b-sides album, and a DVD to their credit with Po'Girl- Alli and Awna have firmly established themselves as two dynamic, compelling songwriter/singer/multi-instrumentalists with true staying power.

2012 sees them both exploring more facets of their artistry with some exciting new projects. Awna is getting ready to record her first solo album-- it will be released on Aug 20th, 2012. She's also working on a companion volume to her first book - A Brief History and Introduction to the Gutbucket Bass- and a new series of Children's Books, for more information visit www.hazytales.me

Alli has teamed up with Chicago songsmith JT Nero ( of JT and the Clouds), they're currently working on their debut duo record Birds of Chicago to be released in summer/fall 2012 for more information visit www.jtandalli.com

She's also involved in a recording project called Sankofa 'The Uptown Strut' to be released March 27th, 2012 on Kingswood Records- featuring John Sebastian (Loving Spoonful), Dom Flemons (Carolina Chocolate Drops), Ndidi Onukwulu, Sule Greg Wilson, and Professor Louie ( the Band) for more information visit soundcloud.com/1888media/sets/sankofa-the-uptown-strut.

Po'Girl will be doing one tour and one tour only in 2012 , March 21st through April 14th in the Netherlands and the UK joined by Mikey 'Lightning' August on drums and Chris Merrill on bass. These are the only scheduled Po'Girl shows this year, in order for Alli and Awna to have time to record, release, and tour their new albums. They'll be working on the songs for the next Po'Girl record and making guest appearances on each other's new projects too-- you can expect a new Po'Girl album down the line in early 2014.

Genuine gypsies, these two wander and play. They move and move and play and sing. It's quite simple. Always restless, more often than not bone-tired, they write their flashes of sadness, their loss, their good love, their hope, their dreams of home into songs that matter deeply to them. Like any good art, they are little acts of self-rescue. So you should listen. You aren't much different from them, and who couldn't use a little rescuing these days?

For North American bookings contact: [email protected]

For UK bookings contact: [email protected]

For Netherlands bookings contact: [email protected]

Tour dates, bios, press quotes and merchandise: www.pogirl.net

MySpace: www.myspace.com/pogirls

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Wednesday, February 3, 2010

Po'girl on "no shame tour" to help prevent child abuse monday, march 1st at the iron horse.

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Gilgit-Baltistan [PoK] April 4 (ANI): The Pakistan police will finally produce 12-year-old Falak Noor, who was allegedly abducted in January, on April 6 at the next hearing of the Falak Noor case.

The Falak Noor abduction, a case that gathered much attention in the last few weeks, was yet again on the centre stage in Gilgit Baltistan, Pakistan-occupied-Kashmir (PoK).

After receiving several warnings from the Chief Court in Gilgit Baltistan, the police will finally produce Noor in court on April 6 at the next hearing of the Falak Noor case.

The case of an alleged kidnapping for forceful marriage of Noor, a minor girl from GB, was stuck, as the police could not produce the victim before the court for the past few weeks.

These actions on the part of the GB police invoked several protests and demonstrations across Pakistan, demanding to present Noor before the court.

Additionally, people from the Advocacy Human Rights (SAHR) and Human Rights Commission of Pakistan (HRCP) also demanded the same.

A person closely associated with the case, in his statement to the press, said, “Noor is under police custody right now. And after the hearing scheduled for April 6 the court will give its decision as per the law. Currently, her statement has been recorded and no one is allowed to meet her.”

Sakhi Ahmed Jaan, the father of the abducted minor girl, Falak Noor, said that it is happening because of the several lashings that the court has given to the police.

“The police is finally producing my daughter before the court. It is not because of the efforts of the police, but because of the several lashings that the court had given to the police. If it was up to the police, they would have never brought Noor to the court, they were playing a game with us. All the top officials like SSP and additional SHO we involved in this,” he said.

Sakhi Ahmed Jaan, in his statement, further said, “I have not met my daughter up till now but I am thankful that my daughter will be finally produced before the court on April 6. It was up to the police to ensure that my daughter would not have reached the courtroom. The oppressors had bribed and brought all the officials to their side, all these actions are inhuman.”

He further said that this is not just his concern or the people of the village, this problem exists all over Pakistan.

“This matter is not related to Islam; it is not related to a part of society; it is not related to any religion or caste; it is just a matter of the powerful oppressing the weak,” Jaan said.

He also claimed that “my daughter was forced into all this, it was not her choice and she is being held at gunpoint to repeat whatever they say.” (ANI)

This report is auto-generated from ANI news service. ThePrint holds no responsibility for its content.

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