The country music genre has changed drastically over time, from its origins in blues to the arena rock of today. The instruments, sound, and tone have evolved with the size of the stage. What has remained the same amidst all this change is the subject matter. Country music still revolves around loss, heartache, pain, and drowning it all in alcohol. On her 2010 album, Liars, Cheats, & Fools, Leyla Fences valiantly attempts to recapture the more traditional country sound while remaining relevant in today’s country landscape.
The most immediately striking quality to Fences’ music is the use of traditional country instruments, namely the fiddle and steel guitar deftly handled by Milo Deering, with Mitchell Smithey joining on a couple tracks. The rest of the sound is rooted in guitars from Jerry Matheny, piano/keyboards by Brad Neher, and drums/percussion and bass from Billy Freeman and Kerry Huckaba. To all of their credit, every arrangement is solid. All of the album’s 13 tracks are polished and well-played, successfully carrying a pop-music charm without losing its moorings in a traditional country sound.
The blending of styles is further accentuated by Fences’ voice. Her tone and inflection while singing (or dropping the occasional “sinkspeak” interlude) is definitively Southern, celebrating her native Texan roots. There’s also a lively energy to her voice, much more akin to pop music. If it weren’t for the traditional arrangements, she would be more pop/country than she is country/pop, and that difference is quite large. While Fences’ voice is very pleasant, her range sounds limited, and her passionate lyrics sound restrained or stifled by her voice at times. However, she makes up in delivery what she lacks in range.
Fences’ greatest asset is her ability to write a lyric. Though primarily about the subjects mentioned in the album’s title, Fences’ songs have an undercurrent of female empowerment. The best example of her depth as a songwriter is on the album’s second track, “This Close”. The singer presents her vulnerability as she openly discusses the strong temptation to return to her significant other after all that he has done to her. By the time the song closes, she determines that she’s not going to go back, and she continues to drive away from the literal and figurative crossroads where she sat. At her best, Fences channels songwriters like Mary Chapin Carpenter, whose “He Thinks He’ll Keep Her” is one of the more prominent pieces to feature feminist themes in country music. At her worst, Fences lyrics are still a step above average thanks to the unique perspective she lends to her songs.
The one thing that really brings Liars, Cheats, & Fools down is the lack of substantial hooks. Even after repeated listens, none of the songs really stick with a strong, memorable hook that should be present considering the pop elements to her voice and song pacing. At some point, the songs seem to blend into each other to the point where the listener could easily lose track of where they are on the album. As nice as it is to have a consistent toe-tapper of a record, there needs to be more variety present to add a level of distinction to her otherwise, well constructed songs.
Though Liars, Cheats, & Fools has some weaknesses, it also showcases Leyla’s wonderful strengths. Fences’ has assembled a very good band of musicians, she’s a wonderful lyricist, and she has a pleasant voice. For a debut album, she could’ve done much worse than this. The very fact that the album deserves a spin or two through a country fan’s CD player, despite the lack of any truly memorable songs, speaks volumes about Fences’ strengths. If she can keep her lyrical edge and bolster her songs with some irresistible hooks, Leyla Fences could easily ascend the ranks of country and feminist artists alike.
Review by Heath Andrews
