Electric guitars and organs float and dart around Meg’s intricate picking and voice like ghosts. Like Meg’s previous LPs (and much of Espers output,) the foundation of Don’t Weigh Down the Light is her lyrical, precise, and propulsive fingerstyle guitar work and a voice that’s alternately soaring, tender, soothing, and deep with mystery-one that more than a few have likened to the folk’s greatest female voices: Sandy Denny, Jaqui McShee, and Shirley Collins.īut where Dear Companion and Seasons on Earth were relatively minimalist affairs, Don’t Weigh Down The Light swims in colours and texture. There she joined forces (as drummer and lead vocalist) with members of Comets on Fire and Assemble Head to form the moody and thunderous Heron Oblivion.Īmid this flurry of activity she also managed to record this LP-Don’t Weigh Down the Light. She played drums and recorded with Philadelphia cave punks Watery Love, toured with Michael Chapman, Hurley, Vile, Cass McCombs, Hiss Golden Messenger, and Lambchop, and contributed to compilation LPs honouring Michael Chapman and Shirley Collins.Īnd after more than a decade as a fixture in Philadelphia’s boiling-over musical scene, Meg moved west to San Francisco. She also collaborated with Will Oldham, Kurt Vile, Sharon Van Etten and Steve Gunn, and toured with Bert Jansch.Īnd while Meg’s last official solo release came in 2011, the days since have been anything but restful. She recorded two solo LPs for Drag City: Dear Companion and Seasons on Earth. She co-founded and recorded three albums with Espers-one of the most distinctively mysterious acts of the century’s first decade. Meg Baird’s last decade would be remarkable by any artist’s standards.
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