Weyes Blood

Front Row Seat To Earth (Mexican Summer)

Contact Patrick Tilley about Weyes Blood

The first thing you notice about Weyes Blood’s new album, Front Row Seat To Earth, is its closeness. The music is immediate and warm with intimate feeling. This disarming nearness draws out emotion from the album’s sound in evocative, bold color. The lyrics serve not to obscure and mystify, but to perform, reveal, and take the listener inside. This is the folk music of the near future.


Natalie Mering, the being behind Weyes Blood, sings sublimely on Front Row. These are her words and she means them. Between the subtle pulses of her breath, we feel the textures of her voice. Her delivery is a trained low gloss, polished with the charm of speech. Mering embeds her song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, and outer space electronics. Propulsive, spare drums carry us across the album’s course.


There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the ‘70s. The hue hangs in the sweet­spooky harmonies, the pulsing sway of the vibrato, and the ecstatic chord resolves. It is the joyful release of energy as the song delicately unfolds from intro to extrospection.


But this beauty is scratched with shadow; with dark foreboding, alienation, and acceptance of change. Love and loss balance together in suspended alchemy, as the earthiness of the singer­songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co­producer Chris Cohen and some special guests, contrasts live band intimacy with the post­modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.


The closeness of this record ­ how personal, alone, and frank it feels ­ conceals its aspirations to the outside, to the “Earth” of its title. Mering wants to lead us through the microcosm of the personal to the macrocosm of the transpersonal. Her witness harbors devastating weight (“… and now you can’t stay, please baby don’t go away”) while universalizing the strange ways of identity and relationships.


These are not typical love songs or protest songs; they are painful, poignant riddles that celebrate the ambiguity of love. Mering affirms the conflict of harmonious life within a disharmonic world. She illuminates and mythologizes it, projecting it back over the whole of Earth. The inner ecology leads outward, bridging “us” with our obscure inheritance of nature.


Active in underground music since 2006, Natalie Mering has collaborated with Jackie­O Motherfucker and Ariel Pink, and released four records as Weyes Blood. Front Row Seat to Earth is her third record for Mexican Summer.



    Jul 15, 2017
    Chicago, IL
    Pitchfork Music Festival

    Sep 18, 2017
    Toronto, ON
    Massey Hall

    Sep 19, 2017
    Royal Oak, MI
    Royal Oak Music Theatre

    Sep 20, 2017
    Chicago, IL
    Auditorium Theatre

    Sep 22, 2017
    St. Louis, MO
    Peabody Opera House

    Sep 23, 2017
    Columbus, OH
    Palace Theatre

    Sep 25, 2017
    Asheville, NC
    Thomas Wolfe Auditorium

    Sep 26, 2017
    Nashville, TN
    Ryman Auditorium

    Sep 27, 2017
    Atlanta, GA
    The Tabernacle

    Sep 29, 2017
    Austin, TX
    Bass Concert Hall

    Sep 30, 2017
    Dallas, TX
    Bomb Factory

    Oct 01, 2017
    Houston, TX
    White Oak Music Hall

    Oct 04, 2017
    Phoenix, AZ
    Orpheum Theatre

    Oct 05, 2017
    San Diego, CA
    The Observatory North Park

    Oct 06, 2017
    San Diego, CA
    The Observatory North Park

    Oct 11, 2017
    Santa Barbara, CA
    Arlington Theatre

    Oct 12, 2017
    Las Vegas, NV
    Brooklyn Bowl

    Oct 13, 2017
    Los Angeles, CA
    Greek Theatre

    Oct 14, 2017
    Pomona, CA
    Fox Theater Pomona