Hello out there,
It’s been five years since I began pursuing my music and I owe so much of the success I’ve encountered to your support. It’s been 10 tours, 4 of them international. It’s been two full length albums and one EP. There’ve been both incredible and not-so-incredible performances, lots of new friends, lots of radio shows, festivals, folk conferences, and one surreal experience opening for American folk icon Emmylou Harris. All that I’ve accomplished I owe so very much to the support I found in you. Thank you!
As I cross into my 30th year, in my new-ish “southern” home of Washington, DC, I’m happy to share with you a lovely review from the good folks at Apple iTunes who recently reviewed Jump With a Child’s Heart. I’m so flattered that they chose to review it and so happy for all the great things that have transpired over these last 5 years.
"Set apart from typical neo-folkie singer/songwriters... Crane’s vision is earthy yet poetic, the work of an artist who lives in both the real world and her own dreams”.
Here’s to maintaining the child in us all,
Annie.
"In the tradition of the '60s folk revival, Annie Crane sings of small-town memories and big-city heartaches on her sophomore album, Jump with a Child’s Heart. The Rochester, N.Y., native brings a classically trained vocal purity to her mélange of Celtic, Appalachian, and blues influences, setting her apart from typical neo-folkie singer/songwriters. Her lyrics are likewise distinctive, combining mystical tones with an Everywoman earnestness that elevates ordinary subjects into something exotic. Crane shows her skills as a musical miniaturist on tracks like “Copenhagen Heart,” “The Island of Manhattan," and “Ghost Body,” dashing off quick but telling portraits with a bittersweet air. There’s a quiet but persistent sense of rebellion evident in songs like the wry “Money Only Hates Me” and the playful “Salinger Said,” lending them a contemporary edge. Most haunting among these tunes is “Lookin’ Out,” a moody recollection of Crane’s grandmother. Trumpet, banjo, cello, and light percussion give evocative shading to these acoustic guitar–centered tracks. Crane’s vision is earthy yet poetic, the work of an artist who lives in both the real world and her own dreams."
