Libby Koch

Koch, a 2011 Texas Music awards and Houston Press music awards nominee, opened the evening with her own brand of Texas dance hall music. After previewing her on-line discography, I was excited to see her perform. But after fighting Houston’s rush hour traffic, I was frustrated to have only caught the last song of her set, “Texas Saturday” from her latest Shadow of This Town. The Texas Tourism Bureau should consider using the song as soundtrack music for its 2012 vacation and travel campaign. After all, what snowbird can resist a holiday where “the sunshine’s brighter and the beer tastes colder . . .?” With a growl in her voice, the Houston native works a crowd while effortlessly multitasking with her guitar and harmonica. Stir the vocal style of Wynonna Judd with a dash of Ryan Adams’ French harp delivery before adding a sweltering July night of Gruene Hall dancing, then VOILA! There you have Koch’s dance hall stew! - Houston Music Review

Rose and I had not been to Spring's Texas Crawfish Festival in over ten years, but took the hike up when the kind folks there approved us for the gig. Right off the bat, out of nowhere, the first band caught our attention in the form of the Grievous Angels from Houston.

Due to traffic, we did not catch their whole set, but when we heard they would play the cozy Mucky Duck we were there. Out of the chute, we were blindsided, yet again, when bud Jack Saunders appeared as lead guitarist for the evening. Come to find out that JS is the producer of the self titled CD coming out July 16th! Boy did he, and the lovely trio of ladies, produce this night in H-Town!

Lainey Balagia, Debbie Forrest and Libby Koch make up the band and wrote most of the songs for their break-out CD in a hotel room in Galveston, Tx over a twenty-four hour period, preparing for a Wildfire benefit for Bastrop at the Firehouse Saloon. Pretty amazing.

The band performed the entire CD in order this night with 'Second Fiddle' kicking it off showcasing the vocals of all three from the get go.

'Traded In' smoked with Saunders just ampin' it up on the backside of a band that shows tremendous maturity in such a short time together. 'Tell Me No Lies' was followed by the group's first single off the CD, 'Sleepin' Dogs' , which should get good air play.

All three of these women are highly talented musicians who already seem like one of the best all-females bands Houston has produced, with only one album to their credit together. Judging by the packed house on a freakin' school night, I think the word is out on this band!

Newbie 'Ain't That Good' was followed nicely by the only cover on the CD, John Prine's 'Angel From Montgomery', done in superb fashion with Saunders' growling, steady-rumble-racket guitar blending well with the sassy, classy trio of ladies!

'Come to the Water' ended the first set power packed with hand off lead vocals at a drop of a hat between the women.

After a well deserved break, where CD's were scored and hugaroos galore from the girls were dished out to all who desired one, the band took the stage for a song swap type set-up with each one playing individual tunes not on the new CD.

Libby kicked it off with 'Lay My Burden' down and her vocal range was highlighted on this tune and her mandolin playing-especially in face off moments with Saunders-rocked my world all night! We had the pleasure of sitting next to her mama who was so beaming proud of her baby!

The "rockem sockem" stuff just kept coming at you with Debbie's 'Lucky One' about her recent marriage and her earlier tale about reaching a "magic too many drinks" number was too funny-and reached this evening by her self acknowledged babble! Funny stuff and really let you see the cool side of these women.

Other goodies were 'Neverland', 'I'm Coming Home Tonight' about Libby's grandmother that did not have a dry eye left in the house and 'Big is You'. If bands got the 6th Man of the Year Award, Jack Saunders would definitely win it for his performance this night!

The show steamrolled to conclusion with happy tune 'Baby It Hurts , alleluia song 'All That Love', 'Truth Is' and a touching encore of 'Circle Be Unbroken'! Grievous Angels have got a blender mix of rock, country, gospel and pizazz in their bag of tricks that equates to a beyond satisfied feeling after witnessing a gig by them! By the non-stop grins on their appreciative faces I think they might be enjoyin' themselves and may be able to quit their day jobs sooner rather than later...Come back soon and do it again please. Out and about lookin' for you! - Houston Music Review

If you haven’t had the chance to check out any of the shows that the Grievous Angels have been playing in the area over the last few months, then you have been depriving yourself of some genuine smile-time. You still have a chance to wear a little grin while you wait for the next show by picking up their self-titled first recording, produced by our own Jack Saunders and featuring Lloyd Maines on slide and pedal steel.

The Angels are Lainey Balagia, Debbie Forrest and Libby Koch, all lovely ladies with contagious smiles and a talent for writing songs that contribute to a Houston Americana style that’s gaining momentum.

The band stands on the strength of the vocal talents and harmonies of all three members, but Debbie plays a nice rhythm guitar and Libby can flat lay it down on the mandolin as well as the six-string. The country influence might be the first thing to strike you from the initial impression. They certainly like to use the witty C&W play on words in their lyrics, but the jazzy Texas Swing and the down home blues influences raise their pretty heads throughout the production.

The opening number, “Second Fiddle”, strikes that Americana balance between country, pop and blues with a reference to Houston’s Kirby Drive. It features an excellent CW /bluesy fiddle lead by Eleanor Whitmore. “Western” is a Texas Swing recounting of a hard day at work that ended in an extended happy hour from a modern woman’s point of view. “Traded In” is a uniquely feminine view of emerging from a bad relationship into a world free of a man’s overbearing tyranny. The vocals had a definite Bonnie Raitt tone.

“Tell Me No Lies” features a wandering mandolin line with alternating harmonies, in a traditional hillbilly music style. “Sleepin’ Dogs” takes Texas Swing down a path of clever double entendre and witty word-play that earned it the position of being the disc’s first single. “Devil” is a country gospel tune haunted by temptation and featuring a fine fiddle/ guitar rhythm and melody that will put your hands together for you.

They girls slowed down to a straight ahead country ballad of growing up and finding one’s way in the world and in love with “Picayune”. Lloyd Maines breaks out the dobro with gusto for “Ain’t That Good”, another hillbilly anthem. The ladies found John Prine’s “Angel from Montgomery” a fantastic vehicle to exhibit the interplay of their voices in harmonies and leads. The ladies ended the disc with a beautiful production of the redemptive, “Come to the Water”.

One of the most impressive things about this trio and their first disc is that they share writing credit on every original tune and put them together relatively quickly. Often the first recording that an artist or group puts out is a culmination of years or even decades of writing, leaving little or nothing for the second recording. Those one hit wonders come and go too often. The Grievous Angels, on the other hand, strike me as a writing group that found synergy with each other. I sense a wellspring of new compositions from these ladies on the horizon. I plan to keep an eye on them. - Houston Music Review

LIBBY KOCH

Been on this talented lady's trail since I caught her at Spring Crawfish Fest last Spring. Hard to pigeon hole her style since she borrows from a wonderful blend of Americana, country, folk and especially rock. She says her main goal is to make honest music that resonates with people and to that end she is doing quite well. She pairs quite well with her sidekick Brian Kalinec who cleaned up on guitar solos on gems like "All That Love" and "The Other Side". Whether we were catching her in showcase rooms or the tight hotel rooms, this woman has the goods to make you stop and take notice. HMR sees big time star things on the horizon for LK and you can bet we're on her like white on rice. Not a nicer more down to earth person either folks! What you see is what you get and that is a boat load of good... - Houston Music Review

Een drummer, een gitarist en een kleine opdonder als zangeres die zich begeleid op de akoestische gitaar, mandoline, banjo, bass, dobro, lapsteel en orgel. Wanneer het album “The Shadow Of This Town”, de derde cd van de Texaanse Libby Koch, opent met de countrygospel Lonesome Bound, knalt de sfeer er direct in. De goedlachse kleine dondersteen blijkt een brok energie te zijn en haar soms schorre, dan weer frêle stem lijkt alles aan te kunnen. ”The Shadow Of This Town” straalt van de emoties en liefdesverklaringen van iemand die, samen met G. Joe Devadanam en Sam Austin met hart en ziel aan dit schitterende album heeft gewerkt.

De cowgirl kiest op deze cd voor een luchtige aanpak voor haar bondige songs. Met doorleefde nummers als Texas Saturday en Tonight, diepgeworteld in de Amerikaanse traditie van de countryrockmuziek, waait er ook een frisse bluegrasswind in Still In Love. Libby heeft het talent om pesterig om het zuivere koord heen te dansen en het af en toe even aan te raken. Onbeschaamd prachtig vals zingen, daar is ze ook goed in. “The Shadow Of This Town” klinkt soms lekker rafelig. maar ook lief in countryballades als Too Damn Hard en Robert Earl Keens Feelin’ Good Again. En goddank, het album is niet perfect afgemixt.

www.libbykoch.com

(Johan Schoenmakers) - Johan Schoenmakers, altcountryforum.nl

Een drummer, een gitarist en een kleine opdonder als zangeres die zich begeleid op de akoestische gitaar, mandoline, banjo, bass, dobro, lapsteel en orgel. Wanneer het album “The Shadow Of This Town”, de derde cd van de Texaanse Libby Koch, opent met de countrygospel Lonesome Bound, knalt de sfeer er direct in. De goedlachse kleine dondersteen blijkt een brok energie te zijn en haar soms schorre, dan weer frêle stem lijkt alles aan te kunnen. ”The Shadow Of This Town” straalt van de emoties en liefdesverklaringen van iemand die, samen met G. Joe Devadanam en Sam Austin met hart en ziel aan dit schitterende album heeft gewerkt.

De cowgirl kiest op deze cd voor een luchtige aanpak voor haar bondige songs. Met doorleefde nummers als Texas Saturday en Tonight, diepgeworteld in de Amerikaanse traditie van de countryrockmuziek, waait er ook een frisse bluegrasswind in Still In Love. Libby heeft het talent om pesterig om het zuivere koord heen te dansen en het af en toe even aan te raken. Onbeschaamd prachtig vals zingen, daar is ze ook goed in. “The Shadow Of This Town” klinkt soms lekker rafelig. maar ook lief in countryballades als Too Damn Hard en Robert Earl Keens Feelin’ Good Again. En goddank, het album is niet perfect afgemixt.

www.libbykoch.com

(Johan Schoenmakers) - Johan Schoenmakers, altcountryforum.nl

It’s only right that true Americana music hails from the South. Carrying the torch is Libby Koch, a Houston, TX singer/songwriter that will draw you in with her country, bluegrass, and folk brand of music. Koch has just released the enchanting album The Shadow of This Town and the Texas staple is finally starting to branch out to the rest of the world.

Starting off the record is the captivating song “Lonesome Bound,” which sets the perfect tone with a harmonica. Already the listener will be drawn in. Koch’s voice isn’t soft as it has a rather raspy tone to it, even while she is hitting high notes. “Walk Away” has a driving beat behind it that you will not be able to resist tapping your foot to. One thing the listener will notice about Koch is her Southern accent. It comes out clear in her vocals and it is charming to say the least. It allows her to put a unique twist into her music that doesn’t tire.

“Texas Saturday” brings a dose of kitsch to the album, and it’s not a bad thing, though it tends not to fit into the album lyrically. The words are playful but come off as a bit childish. Telling the story of a Saturday night in Texas, the song takes the seriousness away from the music on the record in general. Picking it back up is the title track, “Shadow of This Town,” which shows Koch’s ability to write a great song. The slow picking of the guitar and brushes used on the drums set the mood for the track and it must sound even more effective in a live setting.

“Still in Love” is a touching piece that comes right from the heart. Lyrics such as “I got a thousand songs to sing you if you stay” come off as romantic and sincere. This is the standout track on this record as it showcases Koch beautifully both vocally and musically. And yes, there is a hint of banjo in there. “Too Damn Hard,” which is a low tempo song, continues to carry on the audacity of what Koch is trying to do. She doesn’t play by any rules but her own, and that is what makes a successful musician. Though the album rarely deviates from the path it was set on, it not only works, but it works well. “Settle Down” brings the energy back up and carries in with that classic harmonica that the listener will hear throughout the record. The down-down-up-up strokes of the guitar add life into a song that could come off as dull otherwise.

“Starting to See” begins with a slide guitar in a haunting tone. A new twist on the album begins when harmonies enter and the sorrowful song about heartbreak invokes the emotion in Koch’s voice. On the other side of the spectrum is “Here By My Side,” which is the complete opposite of having sadness. The track picks up not only vocally but musically with its fast paced tempo in which Libby doesn’t have a second to catch her breath. “Tonight,” continues on this route and will have the listener out of their chair and dancing in no time. Infused with a great deal of country, it will appeal to everyone no matter what type of music they enjoy. It shows another side that we haven’t seen of Koch before but seemingly it fits.

Closing out the album is “Feelin’ Good Again,” which seems like an homage to her entire piece of work. Ending with the same harmonica that carried the album in, Libby Koch managed to make a record that knows almost no boundaries with The Shadow of This Town. She plays by her own rules, and that is what will set her apart from the others and get her through to the top, where she rightfully belongs.

Review by Melissa Nastasi
Rating: 4 stars (out of 5) - Melissa Nastasi, modernmysteryblog.com

The third release from Texas singer-songwriter Libby Koch, The Shadow of This Town, is a country fused album complete with harmonica and tambourine accompaniment alongside Koch’s wavering, old soul vocals. While she’s been inspired by country greats including Emmylou Harris, Dolly Parton, Patty Griffin, and Lucinda Williams, Koch has a distinct voice that she can call her own. At times bringing to mind fellow Texan Miranda Lambert, Koch is well on her way on this 11-track album.

The Shadow of This Town begins with a powerful harmonica introduction before Koch offers her first vocal. With a classic Americana and country roots vibe, Koch’s eased singing style combined with fitting guitar, harmonica and percussion accompaniment on “Lonesome Bound” get the album started off on the right foot. A quick paced track, Koch’s smooth vocals impress. “Walk Away” follows suit with faster percussion and Koch’s deeper vocals. “Yes, we’ve all walked away/Why is it so hard to find the perfect thing to say/When we all walk on by/Always wonder why,” she sings. Soaring guitar interludes coupled with Koch’s heartfelt lyrics demonstrate her prowess as a songwriter.

Always versatile, the gospel inspired first track “Lonesome Bound” embodies a twangy feel for Koch while “Texas Saturday,” an ode to her home state, has a funky musical interlude that wavers between country and old rock ‘n’ roll. With a catchy percussion beat that begs listeners to stomp along and a harmonica part that accentuates and adds flavor, the song impresses. “The Shadow of This Town” further demonstrates Koch’s Texas roots. The seventh generation Texan, who lives in Houston, sings of her love of her home town. “And if I ever leave/Please take me back there when I die/All the things that I lost/And everything I found/All lie beneath the shadow of this town.” With light percussion and banjo, Koch’s more serious side is revealed. The sultry “Too Damn Hard” enters midway through The Shadow of This Town, and strongly. With deep vocals and a distinct yearning in her voice, Koch strikes the listener. Another song about trying to forget the past and move on with a relationship, “Settle Down” is relatable to many. “So baby let’s settle down/I’m tryin’ to show you baby that it’s gonna be just alright,” she sings repeatedly with additional banjo and percussion accompaniment.

“Starting to See” follows suit as Koch reminisces of a former love who is now dating someone new. Appropriate guitar accompaniment helps in coloring Koch’s tale on this heartbreaking ballad. “You’re with a new love/And I’m glad you’re okay/Can’t help wishing you wanted to stay,” she sings. In apparent agony she continues: “I’m just trying to find something else to get you off my mind.” While country music is known for songs about heartache and loss, Koch manages to liven things up. Tracks like “Here By My Side” pick up the pace with impressive electric guitar interludes. An edgier number, the song recalls country star Lambert. Easily envisioned performed at a honky tonk, “Here By My Side” shows Koch’s fun side. And, what’s a country song without some talk of money problems? Koch closes the album with a cover of Robert Earl Keen’s “Feelin’ Good Again.” The track begins with lament of her money woes. As she steps into a familiar bar with friendly faces she sings, “I wish I had some money/With which to buy a round.” However, she soon discovers her jacket holds “Three $20’s and a $10” and her bad luck quickly changes. With vivid lyrics, the listener can easily place himself in the bar with Koch’s rendition of Keen’s original.

A strong release, The Shadow of This Town embodies songs of everyday life: of love, loss and home life. While it’s easy to picture Koch tearing up a honky tonk down south, it is on her ballads that she leaves her greatest mark. The album is full of great emotion and Koch’s deeper singing style moves the listener. An impressive blend of fast-paced tracks and ballads, Koch switches gears well and continues to captivate the listener’s attention wholeheartedly.

Review by Annie Reuter
Rating: 3 stars (out of 5) - Annie Reuter, reviewyou.com

With seven generations of Texas in her blood and two previous albums to her credit, there is no questioning the authenticity of Libby Koch’s Americana credentials. Her latest album, The Shadow of This Town, is Country before plastic surgery came along and Folk with the story-telling talents of a seasoned troubadour. With the upbeat songs and her stellar band, Libby could smoke any dancehall for hours, and if she took her slower songs and just a guitar to a coffeehouse, she’d be certain to charm the crowd in a matter of minutes.

Twangy harmonica and a driving train rhythm kick off “Lonesome Bound,” immediately drawing the listener into the album with a level of comfortable familiarity that is matched by the freshness of Libby’s honest voice. Her smoky tone and straightforward storytelling combine to form a unique and likeable signature sound as she sings about her need to get away from the endless repetition of the thoughts in her own head and find some perspective. By contrast, the title track of The Shadow of This Town slows the pace down with an old-time banjo melody finger-picked over shuffling drums. A bittersweet, folksy love song, the story winds its way through Libby’s tumultuous, long-term relationship with her hometown. Though she had some times in younger years where she thought that success meant moving away, life perspective has shown her that both the good and bad happened under the shadow of the town, and that ultimately the good it has to offer wins out over the hard times.

A wailing, bluesy harmonica, vamping guitar, and sassy vocals lay Texan pride down thick on “Texas Saturday”, a song celebrating the hard work and partying harder that happens in the Lone Star State. With a promise that “The sun shines brighter and the beer tastes colder, it’s kind of like college but we’re all a bit older, we work all week and then it’s time to play, we have a good time in Texas every Saturday,” it’s easy to imagine that Libby might suddenly have a bunch of requests from her out-of-state friends to come for a long visit. The country waltz “Too Damn Hard” finds Libby questioning a relationship and her role in it. Whether referring to a romance or her relationship with the Divine, the same dynamics apply, allowing the song to work on several levels. While she was willing to go great lengths at first to make a connection, Libby now wonders if the dramatics are really necessary and also if she is actually the one making everything seem so difficult.

The melancholy “Starting to See” brings a crying dobro front and center, and layers vocal harmonies on the choruses that pay tribute to the famous Indigo Girls sound. In the lyrics, Libby’s eyes are opened to the responsibility she carried in the destruction of a relationship. Where each small fault in the past may not have seemed like much on its own, the weight of them all added together was enough to crush her former lover’s spirit. The revelation sends Libby into a spiral of remorse and looking for something else to occupy her mind. Songs like “Still in Love” and “Settle Down” bring out the bluegrass sound with intertwined banjo and dobro rolling over the shuffling rhythm section and fat bass lines. Others tunes such as “Walk Away” and “Tonight” ratchet up the energy with energetic acoustic guitar strumming, scorching electric guitar or harmonica solos and snappy drum tracks. Evoking Johnny Cash’s ”Folsom Prison Blues,” Libby has the opportunity to establish some new bar standards that are sure to get the crowd on their feet every time. The album finishes with a rendition of Robert Earl Keen’s “Feelin’ Good Again,” which serves as both a testament to Libby’s songwriting as well as her ability to make a another’s song her own. The track fits so seamlessly with the rest that one unfamiliar with Keen’s work is not likely to pick it out as a cover before reading the liner notes.

If Libby’s down-home pride, eye-for-details, American poetry, smoky-real voice, and dynamic delivery on The Shadow of This Town weren’t enough to impress, taking in the fact that the entire album was created with just three musicians should do the trick. With Joe Devadanam on drums and Sam Austin on electric guitar and dobro, Libby covers not only the vocals, harmonica, and guitar, but also the recording and producing. While the songs of The Shadow of This Town have the polish to stand in a playlist with the likes of Emmylou Harris, Patty Griffin, and Lori McKenna, Libby’s fresh take and raw honesty ensure she will never be mistaken for any of the powerhouses names a listener may draw on for comparison.

Review by Heather Miller-Rodriguez
Rating: 4 stars (out of 5) - Heather Miller-Rodriguez, reviewyou.com

If there ever were such a thing as a country coaster, Libby Koch’s third album, The Shadow of This Town, would be its poster child. Book ended by a roller coaster of emotional love songs (“Lonesome Bound” and “Feelin’ Good Again,” respectively), The Shadow of This Town does not miss an emotional beat. Fans of Lucinda William’s vocal bare intensity á la Car Wheels on a Gravel Road will relate to Libby’s woeful songs about pain, love, regret, and will welcome her soulful vocal delivery.

Album-opener “Lonesome Bound” has the country folk singer doing a Dylan-esque number with harmonica and organ in tow. Its clever hooky refrain about the pain of regret is touched with vocal “coos” that give it gospel edges, and a “folk-ey” core that is 100% Americana. “Hear the sound. When the wheels are turnin but they don’t slow down/I hear the sound. Your voice inside my head/I hear the sound. And I keep replayin’ every word you said/I hear the sound. And I’m lonesome bound.” “Walk Away” does not shift away from the themes of “Lonesome Bound,” pondering regret’s pain through a fast country swinging beat, as if the artist is trying to shake it off through her artistry. It asks the all-important, albeit rhetorical, question “Yes, we’ve all walked away/Why is it so hard to find the perfect thing to say/When we all walk on by/I’ll always wonder why.”

The “beer-and-rodeo” rescue of Texas ode, “Texas Saturday,” is only a short respite from the album’s emotionally sinuous roads. Its bluesy country swing precedes the most heartfelt song on the album, “The Shadow of This Town.” It’s virtually impossible to unglue the latter’s autobiographical context. The song illuminates the importance of never forgetting home; no matter where, the “shadow” always is there in life and in death. Listeners will have no difficulty deciphering its deep and personal narrative nature. It is easily the most impassioned vocal performance on the album and is sure to be a fan favorite.
“Still in Love”’s dobro brings out the “blue” in bluegrass. Its lyrical directness is unfiltered; the singer’s words take off in a heart-to-heart conversation over commitment and still being in love. “Too Damn Hard” is a slow-burner about frustrated lovers delivered as a simple but lovely melody. The gorgeous harmonies in the refrain make the song sparkle while the church-like organ bellows add a bluesy cadence. ”Settle Down” picks up the tempo a few measures and has a rosy optimism embedded in its lyrics. Its melody is shuttled around by a lip-smacking harmonica, as the singer expresses the urge to move forward and to keep the faith that things will work out.

The album’s epiphany on love and commitment awakens on “Starting to See,” which also has the singer’s rich set of vocal harmonies really coming to life, especially during the chorus. “Oh I’m starting to see I gave much less to you than you needed from me.” “Starting to See” would be a perfect addition to a prime-time romance drama episode or movie because of its gorgeous and shimmering pop country chorus. The pent-ultimate track, “Tonight,” unveils a new country coaster path: revenge. The lyrics are scattered with pleasures in deceit: getting back a diamond ring, finding men “just to show that she can” and burning bar rooms down. It’s a feisty and deliberate deviation from the pain and fears of the other songs; and to some listeners, it might be a welcome one! “Tonight” also has the same deliberate shuffle as super-group The Traveling Wilbury’s, “Rattled,” from their 1988 multi-platinum classic, Traveling Wilbury’s Vol I. Album-closer, “Feelin’ Good Again,” (a Robert Earl Keen cover) is filled with hope and the promise of recapturing those tiny moments in the past that were so warm and tender, and yet, unforgettable. Once again, the harmonica’s wail sends emotional currents into the song that only a mouth-harp could capture.

Fans will without a doubt relate to all of the themes captured on The Shadow of This Town. Due to the emotional topography of this record, it should be consumed in multiple listens and enjoyed by fans of downright and unforgiving country rock and Americana. Lucinda Williams and Indigo Girls fans should be warned!

Review by Michael Morgan
Rating: 5 stars (out of 5) - Michael Morgan, reviewyou.com

All we ever ask of musicians who release CDs is that they give us everything. We demand that they leave nothing on the editing floor. We expect that what we hear is one hundred percent of what the musician could give us. It seems to be even more frustrating for fans when they get all fired up for a sophomore release only to find that ‘the first album was better’ or ‘this one didn’t measure up.’ It is, however, an extreme treat when an artist gets it right. It is a fantastic experience when a follow-up release does all the things it should. Libby Koch (pronounced ‘coke’) has hit a home run in this department. Libby held nothing back on her first release, expressing passion and emotion in a bare bones release that established her as a formidable songwriter and performer. Her follow-up blazes a path in her career that will elevate Libby’s status in Texas music. Koch pens the lot of this eleven pack, save the one cover of a Robert Earl Keen classic. The album takes only a slight different direction for Libby, but shows a maturation and an evolution that has meant the world to her elevated status. The opening cut, “Lonesome Bound” sets the tone for the disc as Koch blends her folk and country influences into a storytelling collage that leaves the listener refreshed, enlightened, and entertained. Libby lays into a blues shuffle groove on “Texas Saturday” as she offers a cut of her own that would surely be at home performed by Keen, whose cover is the wrap-up track. Equally impressive as Koch’s writing is the fact that she performs most of the instruments on the release. Libby has a distinctive voice, which is like gold in this industry. That being said, I think it will take one or two more releases and a couple of years of touring for Libby to narrow the scope of her expansively talented voice. Doing so will endear her to fans as they will be able to instantly identify her from the first note of any song she sings. It’s something all artists should do, but only a few stick it out long enough to let it happen naturally. The slight changes from the first album to the second are evidence that Libby will easily tackle this necessary task. She is going to be one of those artists who has an ‘early work’ sound that fans will compare and contrast to her ‘later stuff.’ This is something I can’t teach an artist, yet it’s something they have to be able to do on their own, and Libby has already taken the first step. Koch has done all that we ask musicians to do with their recorded projects. She has poured herself wholly into her craft, completely submerging her efforts into the recording and simply bearing it all for her fans. Both live and in the CD player, Texas music fans are warming up to Libby, and she is making an indelible mark on the performing scene. This album is not just a stop gap between performances for her fans, but is rather a project that should be studied and analyzed by those who are poised to become the newest Libby Koch fans. The album doesn’t have all the slick polished tricks that are available to artists in the studio these days, but it does offer an honest, extremely well-collected recording that will serve Libby well as she continues to wedge her way into the elite list of the industry. Yes, we expect so much, and Libby Koch has delivered. For that, the album deserves a listen. For that, Libby deserves a chance to perform her snapshots of life for you. You won’t feel cheated, but rather you will become somehow just a little improved for doing so.
- Lucky Boyd, mytexasmusic.com

Texan Libby Koch digs deep into her musical roots as she produces the entertaining and engaging album The Shadow of This Town. Currently based in Houston, Koch could just as easily find herself at home with the top singers and songwriters in Nashville or on stage at the Grand Ole Opry, enchanting audiences with her classic yet personalized approach to modern country music. Mixing traditional influences, there is a tinge of Dolly Parton and Patty Griffin in everything Koch. On The Shadow of This Town, this talented singer-songwriter puts her heart and soul into eleven tracks, producing an album that is as enjoyable to listen to on a car ride as it is on the dance floor.

One of the highlights on the record is “Starting to See.” The song’s laid-back tempo, interesting chord progression and vocal harmonies all combine to provide the perfect introduction to Koch’s work. This type of slow and sultry country music seems to becoming more and more popular these days with Patty Griffin and Allison Krause building their careers in this style. After hearing Koch’s foray into the slower side of country, one can only hope that she continues to write and record more songs of this kind. “Starting to See” is definitely a winner, and is one of the brightest moments in a highlight filled album. Other songs, such as “Tonight” and “Texas Saturday,” showcase Koch’s upbeat side. These songs will have listener’s jumping up to their feet to dance along to the country shuffle rhythms and tap their feet to the deep groove laid down by the singer-guitarist and her band. Besides being fun to get up and move to, these songs are well written from a musical and lyrical standpoint. The lyrics are catchy and memorable, written in a style that allows them to stick with the listener after the record has finished without relying on cookie-cutter formulas. These songs are written from the heart and from personal experience, which is one of the reasons that the album is so successful.

Country music has gotten a bit of a bum rap lately. Long-time fans and newcomers alike have complained that the genre has “sold out” and become too commercial, morphing from the music of the people to Southern-tinged Top 40 pop music. It is artists like Koch that are restoring faith in country music to its fans. She is an artist who loves what she does and this dedication to the art form shines through on each track. Even those of us who wouldn’t think of buying a country record will find themselves smiling along to Koch’s strumming and singing. By shining a light on the classic country sound and injecting her personality to each song at the same time, Koch has produced an album that is timeless in nature, and one that is definitely worth checking out, it won’t disappoint.

Review by Matthew Warnock
Rating: 4 stars (out of 5) - Matthew Warnock, reviewyou.com

Americana Highways brings you this premiere of Libby Koch’s “Just the Way” from her upcoming release Redemption 10. Redemption 10 was produced by Patterson Barrett & Libby Koch and recorded live at Blue Rock Artist Ranch & Studio in Wimberley, Texas. “Just the Way” is Libby Koch on acoustic guitar, harmonica and vocals, Patterson Barrett on organ and harmony vocals, Bill Browder on lead guitar, Eddie Cantu on drums, Javier Chaparro on violin, and Glenn Schuetz on bass.

In an era of widespread vocal sweetness, Libby Koch has that rare blend of powerful real-life honesty in her vocals that lends instant depth and credibility to her songs. On this imaginative reinterpretation of her own earlier work, Redemption 10, you’ll get a great dose of the evolving music of Libby Koch. And “Just the Way” is a perfect way to dive in, and reflect on the strain and uncertainties of single living.

Redemption 10 is a live, full-band reimagining of my first album, which came out 10 years ago. It’s been really fun to revisit these songs after a decade. I’ve changed a lot personally and musically, and as a result these songs are all resonating with me in different ways than they used to. “Just the Way” is about the somewhat cyclical nature of “dating” (I don’t think the kids call it that anymore). It was written in a time when I was perpetually single and not particularly good at keeping it casual! This has been one of the most fun songs from Redemption to revamp and play live, both for the band and the folks on the dance floor. — Libby Koch - Americana Highways

Artist: Libby Koch
Hometown: Houston, Texas
Song: “How Long”
Album: Redemption 10: Live at Blue Rock
Release Date: October 18, 2019
Label: Berkalin Records

In Their Words: “This record definitely incorporates spiritual themes into love songs, and ‘How Long’ is a great example of that. I structured this song around the text of Psalm 40, with lines of each verse and the chorus tracking the Psalm: ‘I waited patiently for the Lord, and he turned to me and heard my cry. He brought me up out of a slimy pit, out of the miry clay, and set my feet upon a rock, and gave me a firm place to stand.’ This piece of scripture has been put into song and hymn many times, and I hope this song is a worthy addition to that tradition. When I originally cut this song 10 years ago, it was a more somber, stripped-down track… for the live anniversary cut, Patterson Barrett and I decided to pick up the tempo and give the song a bluegrassy feel, which I just love. It’s one of my favorite tracks on this live album.” — Libby Koch - The Bluegrass Situation

Written by James Killen

Making a live album has always been a hit or miss prospect. There have been great ones like The Allman Brothers at Fillmore East and Joni Mitchell’s Miles of Aisles and then again, a whole host of them that have dropped off into obscurity. When Libby chose to reproduce her first full length album live, she chose to tap Patterson Barrett and the Blue Rock Artist Ranch and Studio as the perfect control environment to get the results that she was looking for.

The original Redemption came out ten years ago, hence the title of this production. The Blue Rock is a recording studio with facilities for a small audience. They were able to add just enough audience participation to get the live feel, but avoided the clinking bottles and bar noises that plague some recordings. Mr. Barrett was able to put together a dream band of session musicians with Libby’s music style in mind. Bill Browder added some fantastic guitar leads on “Down” and “Don’t Give Up on Me” while Javier Chaparro added all things violin AND fiddle. Patterson Barrett was omnipresent in the mix, adding pedal steel, organ, piano and mandolin in addition to leading the band.

The songs, of course, were not new, but seemed to take on a new sheen. When Libby put out Redemption ten years ago, she was just dipping her toe in the music business. Now, with a few years of making contacts, touring and generally gaining confidence as an artist, she has been able to put a bold new attitude to the work. I have read that in fact this disc was made using the first take as they originally put it down even though they had recorded some alternate takes while they were in the recording mode.

So if I’m going to qualify Redemption 10 as either great or obscure, it would easily fit into the great category. While the professionalism of the musicians and Libby’s smooth vocals keep the recording from obscurity and make it very listenable, that is not what makes it great. What makes it great is how they were able to capture Ms. Koch’s indomitable spirit. When I hear Redemption 10, I can see her bright eyes and friendly grin. Her voice seems to say, “How the Hell are y’all. Sit down and have a beer or four.” This recording is the closest you can get to knowing Libby without meeting her in person. - Houston Music Review

Now Playing: Libby Koch’s ‘Redemption 10: Live At Blue Rock’
October 12, 2019

Image courtesy of Libby Koch
Libby Koch has just completed a new compilation album. It’s titled Redemption 10: Live At Blue Rock and drops on October 18th. But first, for those not yet familiar with the artist in question, a bit o’ background.

Libby Koch


Image courtesy of Libby Koch
According to her official website, Koch reportedly began writing songs in junior high school. It would not be until she started law school at Nashville’s Vanderbilt University, that she felt “she could hold her own in a city full of heavyweight talents.” it would not be until she began working in a Houston law firm, however, that she became “convinced her music, not law, was her true calling.”

She recorded the original self-released Redemption, a decade ago, while still working as an attorney. Koch thought that was the end of it but the record sold, “one thing led to another” and she was building a music career.

She began playing more live gigs and ten years later she is celebrating her music career with this upcoming live “reimagining” of her original solo recording.

Koch discussed this while speaking of what inspired this upcoming CD:
“Ten years ago, when I recorded Redemption, I was a young attorney at a big law firm in Houston. At the time, I thought this was probably the only record I would ever make, and I certainly didn’t anticipate I would ever have a career in music. Once I self-released the album and started playing shows and selling copies of the CD in Houston, one thing led to another, and before I knew it, I was building a career in music!

Ten years later, I’ve put out a few more records (Redemption 10 will be the sixth), and I’ve played hundreds of shows across the US and Europe. It’s been an incredible adventure, and I’m most thankful for all the great friendships I’ve made with musicians and music lovers across the globe. Revisiting my first album feels like a fun and fitting celebration of the music and memories I’ve made over the past decade.”

Currently based in Austin, her rockin’ resume includes her previous platter 2016’s first-round Grammy ballot nominated Just Move On and a few other audio offerings including a collaborative album as part of an all-gal group titled The eponymous Grievous Angels and her 2008 Barn Burner EP.

Signature sound

Known as a “Texas Americana singer-songwriter,” Koch’s signature sound is a mix of music genres including Americana, bluegrass, country, folk, gospel (and on this disc, even a trace of rock ‘n’ roll). She is inspired by the likes of Patsy Cline, Emmylou Harris, Loretta Lynn, and Dolly Parton. As it says on her website, she writes “true cryin’ and leavin’ country songs.”

Redemption 10: Live At Blue Rock

Redemption 10: Live At Blue Rock is her sixth release. Recorded in front of a live studio audience, this is a full-length band-backed reimagining of the first full-length, “stripped down” acoustic album. It features Koch on acoustic guitar and lead vocals. She is backed by a band that includes co-producer Patterson Barrett (piano, organ, pedal steel, mandolin, and harmony vocals), Bill Browder (lead guitar and harmony vocals), Eddie Cantu (drums), Javier Chaparro (violin), and Glenn Schuetz (upright and electric bass).

Track by track

The 10-track disc opens on “Houston.” This seems an apt album opener considering Koch was born here. It’s about moving out (of perhaps both a relationship and a city) and moving on with her life. In a recent email, Koch confirms these impressions adding: “I wrote this song the day after I graduated from law school in Nashville.

The movers had come and gone, and the house was empty. I was leaving for my new job and new life in Houston the following morning, but before I left, this song had to be written. At the time, I thought I was saying goodbye to a guy, but upon reflection, I now see that I was closing one chapter and starting another.”



The second selection is the first single off the album “Just The Way.” This song is about the uncertainty of being single and the sometimes “cyclical” aspect of serious dating. With the full band backing, it makes a nice traveling song.

The next number is “Can’t Complain.” This is one of those “born-of-a-failed-relationship songs. Indeed, Koch admits that “[w]riting this song was an attempt to gain a little perspective after a breakup and remind myself that, at the end of the day, I was going to be okay.”

It has a familiar sound to it both musically and lyrically, too. It has a message of perseverance in it as well. “In true Texas style, I was raised to dust myself off and get back on the horse after you fall out of the saddle, and this song is part of that tradition.”

It’s followed by “Stay With Me.” Not to be confused with the 1971 Faces song made famous by Rod Stewart’s vocals, this like almost all of the other songs here, is an original composition. Some might consider it a little sad but it’s just a musical expression of one of life’s all too common experiences.

“Redemption” is the titular track. Apparently, it has aged well. In fact, it probably has more meaning now than it did a decade ago. Koch confirms this: “This is one of the songs that has grown in meaning and depth for me, as it was written for someone who I now know never really loved me back. Now I sing it for someone who really deserves these words.”

“How Long” is one of the singles off the album. Koch includes a spiritual theme here among songs about love and relationships. It appears to be lyrically based on material from The Bible.

Koch says: “I based this song on the text of Psalm 40, with lines of each verse and the chorus tracking the Psalm: “I waited patiently for the Lord, and he turned to me and heard my cry. He brought me up out of a slimy pit, out of the miry clay, and set my feet upon a rock, and gave me a firm place to stand.”

Mind you, it is not the least bit preachy, folks. On the contrary, it is perhaps one of the best bits here.

“Down” keeps things moving. It’s got a bit of a rock ‘n’ roll feel to it too. It’s a nice little surprise for sure. Koch commented:

“This is probably the song that changed the most from the original version. I always heard this song in my head as a honky-tonk number, but Patterson said ‘what if we make it a rocker?’ Once the band kicked into gear on this groove it was clear that it was meant to be. We had THE most fun with this song!”

“Don’t Give Up On Me” keeps the fun going. It is one of those songs that while containing spiritual elements could still be a song about something else. Koch explains why the song has that feel:

“This is a spiritual song that I wrote in high school. I got my start playing guitar in my church’s youth group and the Young Life band, so a lot of my early songs were written from a spiritual angle. At such a young age it was easier for me to write those spiritual songs than it was to write something personal about someone else…I was so afraid people would figure out the songs were about them!”



“Ready Now” a final example of just what Koch can do as a songwriter. It’s another number that was born long ago yet now has a new meaning to it. Like a few of her other songs, it works on multiple levels.

The closing cut is titled “I Still Miss Someone.” This on is Koch’s cover of the Johnny Cash cut. Right off the bat, her feminine vocals add something here. Additionally, a cover on an album full of original, indie songs works to provide a sense of familiarity and the specific choice of covers also indicates something about the artist as well.

Koch explains: “ I decided to close the album with one of my favorite Johnny Cash songs, ‘I Still Miss Someone.’ The original Redemption version was just me, my harmonica, and my guitar…a really intimate version of the song. This live version ended up being a little more lively and faster than we anticipated, but I think we were all having such a great time and in a nice groove that it turned out the way it did. I love both versions . . .”

Overall, the album is an effective, interesting reimagined, full-band flashback that sounds as if it was fun for Koch to record. No doubt some of this material is something she truly hasn’t worked on much in the past decade and thus the songs reflect potential changes in her overall presentation. Additionally, the songs here have been fleshed out with a full backing band.

So while these songs are obviously not newly-written and no longer played solo, they still maintain a sense of honesty and intimacy in the actual tuneful telling of the individual stories and oft’times even take on a new meaning and feel. They are generally clever and often earthy cuts that make it clear that Koch knows it’s OK to sometimes feel bad and that misery enjoys company. . . especially if you can learn something from it and dance a little too.

Koch concludes that she is “so happy with how this entire project turned out.” So check out Libby Koch’s Redemption 10: Live At Blue Rock and experience “Redemption.” - HVY

Libby Koch REDEMPTION 10 (Live at Blue Rock)
October 18, 2019
Breathing New Life Into Her 10 year Old Debut Album.

I came to Libby Koch’s music rather late; so hearing this re-working of her first album has been a bit of a fact finding mission; as I can now hear where she started on her path to (relative) glory.
That is only half the story; as the re-workings are by Libby with a handpicked band of Nashville’s ‘finest’ in tow whereas the originals were just her and an acoustic guitar; plus this recording was ‘as live’ before a small audience of friends, fans and family in the Blue Rock Studio.
That’s a new and innovative approach to my reckoning.
So with nothing to ‘compare and contrast’ this is all new to me; so let’s treat it that way?
Opening track Houston is one of those passionate bittersweet break-up songs that Country Music does better than any other genre; and Libby sings right from the pits of her soul, with the occasional fiddle and steel-guitar interlude for even extra pathos.
Especially on a debut album; songwriters are told to ‘write about what you know’ and Libby does that very thing; and managing to pull the listener through the emotional ringer on Can’t Complain, which starts with her parents marriage break-up when she was 7 and closing with a break-up of her own; but Bless Her; she get’s through it all with a Can’t Complain attitude …… even if it will leave listeners with misted eyes.
I guess it’s a similar bit of personal background on Don’t Give Up On Me and the brittle Stay With Me; although she may have a vivid imagination ….. although they both sound terribly ‘real’ to me.
For all the sadness in the songs themselves; Libby and her band manage to conjure up a special ‘warmth’ on just about every song here; most especially on Just The Way which has more than a hint of Bobbie Gentry in not just the tone; but the sentiment too and the simply constructed, yet complex story of the title track Redemption had a similar effect on my heartstrings too.
I know there’s a saying ‘keep the best ’til last’ which may not always be true; but on this album it is; with the beautiful heart-string tugger I Still Miss Someone closing the show and album; but it’s the predecessor Ready Now that has won my heart and therefore becomes the RMHQ Favourite Song; although with so much to choose from you will likely choose something entirely different.
Obviously with so much going on in her life now, it would have been all too easy for Libby Koch to have left this album in the cupboard marked ‘of its time’; but with many of the songs having grown and developed over the last 10 years, and still being in her set list now; this has been the perfect vehicle to dust them off and let a whole new audience hear them in all their glory. - The Rocking Magpie

Redemption 10: Live at Blue Rock – 2019 (Berkalin)
Reviewed by Jim Hynes

Houston-based singer-songwriter and former lawyer Libby Koch celebrates the 10th anniversary of her first album, "Redemption," by releasing a full band, live audience setting for what was originally a solo acoustic album. This marks the first time she's recorded live, finding an intimate setting and state-of-art recording technology in one cool place - The Blue Rock Artist Ranch and Studio in Wimberly, Texas. Koch's friend, multi-instrumentalist Patterson Barrett (Buddy Miller, Nanci Griffith, Jerry Jeff Walker) enlisted a top shelf group of Austin musicians to support her on these 10 tracks.

Koch and the band played the album straight through and then reprised a few songs, choosing eventually to put the first takes on the album. The audience is more than enthusiastic; they wanted to be heard too and did their part in stimulating the band and creating a very palpable chemistry that rings through.

She begins with a heartfelt nod to her hometown in the rave-up "Houston," with the band already at full throttle. "Just the Way," the single, comes down a few notches as Koch sings fondly about a past relationship. "Can't Complain" is a medium-tempo tune about contentment while "Stay With Me" finds Koch singing in hushed tones over acoustic strumming, Barrett's organ and Javier Chaparro's lovely fiddle, a vibe that continues into the title track. The band steps it up for "How Long," and gets even rowdier with the piano-driven "Down," as the audience encourages Chapparo's blazing fiddle run in the mid-section, that's followed by barrelhouse piano and scintillating guitar solos, before Koch wails on the way out, leaving the audience enthralled.

"Don't Give Up on Me" and "Ready Now" feature bright band support and an animated Koch before she ends sentimentally with the only cover, Johnny Cash's "I Still Miss Someone," infusing it with just the right amount of emotion, with another stellar Chaparro solo and vocal harmonies keeping the tune vibrant, and far from maudlin.

Koch is having a great time and one can practically envision the smiling faces among the band and audience in this live recording. - Country Standard Time

Libby Koch “Redemption 10 – Live at Blue Rock” (Berkalin Records, 2019)
View all posts by Dave ClarkeOctober 24, 2019
Libby Koch (rhymes with Coke), from Houston, Texas, now with an established reputation, wanted to celebrate the tenth anniversary of the recording of her first album, ‘Redemption.’ Ten years ago, it was Libby, a guitar and a fine album. Now, an established artist, she has gathered around her a group of musicians including Patterson Barrett, who co produced ‘Redemption 10’ with Libby and who plays piano, organ, pedal steel and mandolin, with other members of the band: Bill Browder, lead guitar; Eddie Cantu on drums; Javier Chaparro on violin; and Glenn Schuetz on bass. Together they have produced a live performance recorded at Blue Rock Artist Ranch and Studio, Wimberley, in central Texas hill country, south of Austin, an outstanding album!

‘Houston,’ the first track, sets the scene perfectly: “On a highway back to Houston/ I’ve bid farewell to Tennessee.” By way of a reference to Libby’s own family history, this is also a hint at the standing Texas is establishing for itself in Americana and Country music, alongside Tennessee. Listen to the bridge, here, for an affirmation of this, with the violin and steel guitar. And listen to the applause at the end with Libby’s thanks, “Thank you all!” There is a Texas feel there.

The second track continues and affirms this overall sense of Libby being at one with the music. Here is a simple straightforward love song: “Just the way I feel about you now.” The confident arrangement and presentation, with mouth harp in the background, carries the audience along easily.

The songs carry on in this way. ‘Can’t Complain’ is about life in general, and, despite everything, doing all right. “Life’s worth the living when you’re living for love” – with the final notes from the steel guitar at the end of the track and the cheers from the audience. Track 6, ‘How Long’ is interesting, as it is modelled on Psalm 40. “I have waited patiently” are the words in the psalm exactly, as are, “We’ll set our feet upon a place where we can stand” which mirror the psalm’s words: “and set my feet upon a rock/ making my steps secure.” Certainly, this latest version is just right, more up-tempo and bluegrassy, with yodelling, and fiddle at times. “How long,” Libby sings, “will we sing (and dance) to this song?” A stand out track!

‘Down’ is similarly a crowd-pleaser. Just listen to the band warming up, getting in tune at the start. Here is a singer in proper conversation both with her audience and with her band. Never has it sounded more appealing to go “Down, down down!” Notice, again, the bridge where you can enjoy pieces by violin, piano and guitar. As Abby sings at the end, “I’ll go down on my knees / cause all I think to do is play!”

‘I Still Miss Someone’ the last track, starts off by echoing how Libby sounded ten years ago. But now, with a group of standout musicians, we are treated to her grand development as a noted figure in this type of music. On this track, you can tell how good she was – and how great she is now.

Live, full band reimagining of Libby Koch’s first album 10 years on
Author: Dave Clarke

I have always loved Americana music, even before it had a name. I've been a teacher (secondary and tertiary) all my professional life. - Americana UK