No Album Left Behind: Our Native Daughters' Songs of Our Native Daughters

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NO ALBUM LEFT BEHIND: A series where we revisit all the records we missed until now. Today, anniehgalvin looks at supergroup Our Native Daughters' debut, a record that demands we find meaningful ways to reckon with the violent history of folk music.

has reviewed about 300 albums. Yet, hundreds—if not thousands—of albums have slipped through the cracks. This December, we’re delighted to launch a new series called, in which our core team of critics reviews some of their favorite records we may have missed the first time around, looking back at some of the best overlooked releases of 2019.

But Giddens’ mission statement can also be read as a reflection on the blurry-edged genre that’s come to be known as “folk,” “roots” or “Americana” music in recent years. These signifiers should, in theory, be capacious and inclusive; technically speaking, they refer to little more than the presence of acoustic stringed instruments in a piece of music and some aesthetic or thematic connection to America’s past.

At the center of Our Native Daughters’ project lies the banjo—an instrument, Giddens explains, whose origins lie in West Africa but whose place in American culture has been jostled and thieved by the slave trade, the popularity of blackface minstrelsy in the 19th century and the Mumford-ification of the instrument into a tool that’s often associated with bearded dudes making foot-stomping, easy-listening music on festival stages.

. Each member of Our Native Daughters brings distinctive ideas and sounds to the project while generously ceding space to one another when appropriate. The album stands on its own not just because of Giddens’ vision and star power, but equally because of Kiah’s forthright songwriting and attention-grabbing contralto, McCalla’s explorations of Afro-Caribbean rhythms and Russell’s remarkably personal narratives about the trauma that she and her ancestors have survived.

 

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