The aftermath of the pandemic for Erinn Peet Lukes is one of striking out in a new direction while chewing on all the influences and talents that have informed the first phase of her musical life and career. Working behind a band format can be something of a comfort zone even if you are the key member of the outfit. The move to putting your name on the cover and simply naming your record EPL is a precursor to the content which unequivocally puts Erinn Peet Lukes in the spotlight. Across the seven self-written tracks forming the EP a fair sample is revealed detailing an artist heavily schooled in the diverse worlds of bluegrass, indie and pop.
Background information for this record sheds a light of a shared passion for Taylor Swift and Earl Scruggs alongside songs dedicated to Britney Spears and a mixed relationship with country music. We also learn that Rachel Baiman was hired for production duties and a seriously fine array of Nashville players were engaged. It has indeed been a long and winding journey to end up in Music City for Erinn Peet Lukes. Key activity up until now has been at the helm of Thunder and Rain, a band that has had a fair amount of exposure especially via a trio of albums culminating in 2020's acclaimed release PASSING IN THE NIGHT.
Bringing things up to date Erinn Peet Lukes has decided to give it a stab of going alone. Confidence in the success of this project will rise once the word gets around and folk devote an economical twenty-four minutes to grasp what a capable artist we are in the hands of. The two key tracks have rolled out as the second and third songs in the running order. 'Country Music Breaks My Heart' is a clever little number spanning three and half minutes. Baiman doubles up her role with a fiddle opening as Lukes sinks her chops into a wry ode to a genre where her music has generally skirted. The other standout number also utilises plenty of fiddle alongside inevitable pedal steel leaving the 'Dime a Dozen' as a song rich in a sound that has been core to a career to date.
Outside the top two, 'Loneliness or Solitude' brings an Irish feel to the equation with fiddle and banjo featuring prominently. Things get lyrically savvy with 'Queen', a fully paid up homage to the aforementioned icon of early 21st century pop. 'Catalyst' has a domesday implication though the feel of Lukes approach keeps an overall darkness at bay. This was also the first single released, and is snugly nestled in the playing order as the follow up track to album opener 'Stung'. This is where the woes of love at least conjure up a song.
Diving into this neatly packaged extended play brings the solo intentions of Erin Peet Lukes clearly into view for a frozen moment in time. A succinct approach to blending in a wave of influences into a shortish timescale is aided by some finely crafted musicianship. EPL might well just enact as a signpost to a successful direction. One where a prosperous future cradles the exquisite talent of an artist smart on choices and effective in execution.
