“Oh, if ever you could hear me / Like winds sweep through the valleys / Like rain on the willow trees / Your voice, is still atop my mind / I hope you can hear mine / Please don’t let me go…”
As a rock star journalist from the States (more a mere music blogger, but I tip my hat to my friend Trevor A. in Muskoka for that greeting when we last crossed paths in 2023), one of the most frequent comments I continue to hear from friends just now discovering this sideline of ours is “I don’t think I’ve heard of any of these bands on your website.” Given our focus primarily toward independent Canadian musicians, I never consider this a criticism – if we’ve piqued your curiosity and you are suddenly paying attention to new-to-you artists, well, we prefer to call this ‘mission accomplished.’
I’m sure I speak for the entire GDW team when stating that as music fans too, we are equally excited when discovering something new. Many artists have become good friends over the years, creating a snowball effect of friends within their social circles also finding us. We recently made the acquaintance of Cobourg, ON emerging singer-songwriter Kailan McGee through such networks, who reached out to share exciting news of her 2025 debut album. Ever on the lookout for something “unique” for my own personal first album review of a new year, I was naturally intrigued and eager to learn more.
The first thought that sprung to mind when pulling up Kailan’s “The Songstress’ Empire” digital release was that if you are going to make an impact with your debut, and you are unsure of how much to share – well, you know what they say – go big or go home, right? For Kailan, why settle for the universally accepted eight to ten tracks when you have a choice of twenty-one to offer? Why succumb to the cravings of the cutting room floor? No, in a world where genuine creativity is often scarce, it is incredibly refreshing to find a new arrival on the scene who is willing to fully defy convention and toss everything out there for us music junkies.
If you consider two regular albums worth of material on a debut release not all that unique, we’ll we’re just warming up here. Before I start my quest to find that first album to review, considerations are made to the type of music I am craving. Do I veer towards my preferred folk-roots go-to variety? How about country? Maybe a little rock and roll? Piano ballads? Indie? Pop? Too many choices! Fortunately, with “The Songstress’ Empire,” Kailan takes the rulebook and throws it frisbee-like into oblivion, offering instead an all-of-the-above alternative. If you are looking for what is truly a non-genre specific collection of tunes, this album is most certainly a great place to start.
The album’s opener, “Just Like That,” delights the senses from the rapid snare taps and low-end guitar twang alone – painting an immediate picture of a spaghetti western noir scene – before McGee’s vocals arrive to match the intensity of the instrumentation step for step. One song in, and we’ve discovered a fusion of country, rock, and indie – best buckle in for the rest of the ride here. Skip over to “Stick It Out” for more of this rock-country vibe, with both tunes drawing similarities vocally to BC indie-rocker Laura Kelsey, with the deft songwriting flair of ON folk-blues rocker Lynne Hanson (and let it be said that the guitar twang on “Just Like That” conjures up the vintage riffs associated with Hanson’s touring guitarist, Blair Hogan).
If classic indie-pop is what you crave, go ahead and jump to “Blood Is Cheaper Than Wine,” where a brief Tom Petty inspired intro builds quickly into a power-pop number once arriving at the explosive chorus. Add a splash of wailing-yet-discreet guitar and organ to the mix, and the recipe is perfect for making a classic pop-rock dish – McGee’s vocals hinting of some 90s indie vibes too, with thoughts of Brit indie-popper Sonya Madan springing to mind. Ditto for “Bye Baby,” where those opening taps whisk my thoughts off to the intro of “Here’s Where The Story Ends,” the crossover hit from The Sundays – Kailan taking me on a trip down memory lane with these subtle hints from otherwise stunning and completely original compositions.
So, what about the folk-roots music that I often seek out? Kailan more than delivers with tracks such as “Without The Lean,” “Nothing In Your Soul,” and “If Ever You Could Hear Me” – the latter slowing the pace significantly to allow your pulse to do the same. Joined by the welcome inclusion of orchestral strings and muted instrumentation, Kailan’s softer (yet still potent) vocals tug at your heartstrings right through to the eventual close.
With so many songs to absorb, it is impossible to reference them all here but given my predilection for 80s pop revival in my own listening pleasures lately, Kailan caters for such cravings with a pair of corkers. “Let’s Dance Tonight” has a definite 80s flavor, while “Haven’t Got That Far” overloads with retro synth and drum machine – offering an amalgamation of early Pat Benatar, Kate Bush, and perhaps too, a little Shakespears Sister influence. “The heart, soul, work, dedication, belief, and pure love that has gone into this album is something I can’t help but be proud of,” Kailan shares. “Each song is about my life, my feelings, and it is a direct result of my music therapy sessions bringing an ocean of emotion out of me. It’s raw, honest, and unique.” “Unique” – there’s the adjective that I too referenced earlier about what I was looking for in this album review.
If pressed to select a favorite cut from this collection, I would struggle to meet that request. After much head-scratching, the best I can offer is three: “Don’t Look Back Now” is the album’s piano ballad, and we all know of my love for an emotional tinkling of the ivories. The peppy pace care of the marching lead snare found in “Would It Even Make A Sound,” complete with the timeless appeal (the harmonies and guitar tones dial back the generations) and Kailan’s ease straddling the lines between pop and country. And finally, “Long Live The Night,” where indie-folk meets prog-rock, before returning full circle, and leaving my jaw firmly on the floor as it plays out.
A fantastic debut from an emerging artist who – based on this, and her recent Joni Mitchell cover (check it out – trust me) – we’re more than happy to add to the GDW listening library. “This album doesn’t follow a specific path, structure, concept or even genre. Each song is as unique as you may find your internal emotions to be on any given subject matter, on any given day,” Kailan offers in closing. “The songstress’ Empire is up, down, hot, cold and every place in between. The album is like life: unpredictable.”
“The Songstress’ Empire” is officially released tomorrow, but if you don’t want to endure one more sleep until then, you can hear the album in its entirety right now on Kailan’s Bandcamp page.
https://kailanmcgee.bandcamp.com/album/the-songstress-empire
Photo Credit: Artist Website
The British guy that crossed the ocean and crash landed in central Pennsylvania (to quote Greg Keelor, “And I wonder what am I doing here?”). As the youngest of four siblings, exposure to music from a very early age nurtured my passion and appreciation for many musical genres. Continuing to discover some amazingly diverse and talented musicians based in Canada, I gravitate to live music experiences and remain devoted to spreading the word about such a vibrant music scene.
