‘Hollywood’ was the first single released on 2004 album Wayward Angel and was her fifth Top 40 hit in five years. It was named by Country Universe as the second-best country album of the decade. Unsurprisingly, the record ended up featuring Kasey and Shane’s voices in tandem, and they complimented each other with a deep understanding and shared musical feeling. The title track from an album written by Kasey and her then-husband Shane Nicholson, ‘Rattlin’ Bones’ came about after a long desire to record such a project. The album, and lead single ‘Nothing At All’, were a move to a more roots-influenced blues, while the record carried more driving energy overall than we’d been used to from the singer. Kasey’s 2006 album Carnival signified something of a change from her solo music which to that point had a more traditional country style. The song gained extra momentum as it was used as the official anthem of 2003 Rugby World Cup, held right here in Australia. 7.True Colours (Cyndi Lauper Cover, 2003)Īnother of her biggest anthems, ‘True Colours’ wasn’t originally written by Kasey Chambers but she undoubtedly made it her own. ‘Pony’ is the lead track from Kasey’s 2004 album Wayward Angel and also features some of her textbook yodelling. One of the most recognisable bass lines in Aussie country music, if not Australian music in general. ‘If We Had A Child’ was recorded for her 2017 album Dragonfly, and its perfect mix of wistful harmonies and tasteful guitar make it one of Kasey’s best songs of recent years.
Undoubtedly two of Australia’s best ever country singers, it was perhaps only a matter of time before we heard a collaborative track from Kasey and Keith. ‘Goliath Is Dead’ is one of the tracks from the record that best sums up this sentiment, with the song and album co-credited to the Fireside Disciples (Kasey’s long-term guitarist Brandon Dodd, Kasey’s father Bill Chambers and Yawuru elder Alan Pigram). Kasey Chambers’ most recent album was something of a throwback to her roots, referencing her childhood growing up on the Nullabor Plain with her family. It was co-opted as an anthem for people all over Australia who felt inadequate at one time or another in their lives. Upon its release in 2001, ‘Not Pretty Enough’ became more than just a statement about the music business. There’s a beautiful irony in the fact one of Kasey’s most successful singles to date is about being ignored by commercial radio.
Not Pretty Enough, Barricades & Brickwalls (2001) In fact, it’s her second most-played song on Spotify to date. Sure, this might not strictly be a Kasey Chambers song in the traditional sense but her 1999 recording of one of Crowded House’s biggest tracks plays as if it was made for Kasey. Like many young artists, she is still a compendium of her influences rather than a distinct figure unto herself, but The Captain is a sincere effort steeped in the kind of country/folk/rock style that made Lucinda Williams a critical success in the late '90s, and it is likely to attract similar attention.2.
Though she has a gift for wordplay that favors internal rhyme, her imagery can be trite ("You got the car and I got the break"), and her compositions are less interesting in themselves than in the performances she gives them. Her tunes tend to be either "I am" songs of self-description like "Southern Kind of Life" and "Cry Like a Baby," accounts of romantic difficulties, or celebrations of life on the road. The result is a style that will remind some listeners of Dolly Parton and others of Lucinda Williams, as Chambers, backed by her father and produced by her brother, both of them members of the family's Dead Ringer Band, sings in a breathy voice that breaks expressively. But she isn't she's singing about the Nullarbor Plain in south-central Australia, where she grew up, apparently listening to a lot of country records. In "Southern Kind of Life," a song on her debut album, The Captain, Kasey Chambers convincingly describes a rural Southern upbringing - poverty stricken and Bible dominated - and since she performs in a style associated with the Appalachians as developed into commercial country music, it's easy to assume she's singing about the American South.
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