The haunting voice of Amy Annelle will keep you up at night. The mind wanders down some dark corridors, and her song just may be the soundtrack to that unsettling journey. Annelle has taken her music on the road since 1999, captivating audiences with her distinctive otherworldly vocals. This is no ordinary folk singer. She has an instinct for remaining true to roots music while taking it into a different dimension, echoing in the memory long after she’s stopped playing. ” - Laurie Gallardo

Texas Music Matters

As a talent, Annelle is as formidable as she is approachable, something that people were learning at Googie’s; her voice could and is about to be described as high and lonesome. Like most of our best artists, though, she’s way too complex to be summed up easily. One reason she stands out so distinctly from the forests of folks with an acoustic guitar is that she really connects to the past—and can translate it to the right now. When she covered Jackson Frank’s “Blues Run the Game” toward the end of her set, the whole question of “singer or song?” became beautifully muddled; Amy and Jackson were both there, and it was almost worth crying over” - Mike Wolf

TimeOut New York

‎2010 PORTLAND FOLK FESTIVAL: "...this inaugural event has some mighty heft behind it with three founders—Slim Moon, Amanda Stark, Chantelle Hylton Simmons—who have a combined lifetime of local music servitude under their respective belts.  It's nearly impossible to narrow down this list of performers, but here are our top picks:Longtime Portlanders surely recognize the voice of one Amy Annelle, a former local singer who traveled east a few years back, eventually settling in Texas. In her first return in quite some time, Annelle... is armed with a fancy new disc, The Cimarron Banks, of frail folk numbers, each held tenderly together with her wondrous voice and nimble melodies. She'll be collaborating with the Portland Cello Project during their Woody Guthrie tribute, then embarking for a pair of not-to-be-missed solo sets as well.” - Ezra Ace Caraeff

Portland Mercury

...there was no end to the genres crossed during the festival’s three days, and Amy Annelle's mix of traditionals, country covers and panhandle-inspired originals were a much-welcome opportunity to just sit back and listen to some folk musicVisit link for live recording of the show.”

The Flat Response

Yesterday morning I woke to a soft rain in a Maine barn. And by tonight, I'll be all the way to Oregon. Presently, I plan to take two deep breaths." So goes the unconventional newsletter of folk singer Amy Annelle, who spent the greater part of last month navigating Portland and playing shows like a Woody Guthrie tribute at the Mission Theater, the Portland Folk Festival and the Holocene Festival. But Austin's prodigal daughter has returned, announcing that she and select guests will christen Ruta Maya's new back bar with performances every Wednesday. The opening of a folk-friendly back bar bodes well. This evening Annelle's guest is Sarah Hennies of Weird Weeds, who will accompany her "with improvised percussion." Annelle's latest album is called "The Cimarron Banks" and was released earlier this summer. ”

The Austinist

The Portland Cello Project hosts a tribute to Woody Guthrie, with special guest collaborators Peter Yarrow, Dan Bern, Rebecca Gates, Laura Gibson & Amy Annelle....singing Guthrie’s ballad “Belle Starr,” written about the famed “Bandit Queen.”..she has her own interpretation of them and of the events and of Ms. Starr. That’s called “the Folk Tradition.” And that’s what this Festival is all about. The cellos, mournfully appropriate, kept to plucking and subtle bowing as the waltz tempo framed Anelle’s telling of Guthrie’s story.” - Tom D'Antoni

Oregon Music News

Each week I play something new and each week I'm blown away...Amy Annelle isn’t an indie-kid specializing in lets-play-dress-up pastiche; she’s an actual folkie who just so happens to be operating outside the mother culture...she reminds me of Kath Bloom in many ways, though she feels less agitated and more disembodied"     ” - J. Farrar

— Strawberry Flats/Asheville Free Media

The first song struck hard because of the surprisingly powerful voice...evocative and eerie style...she paints an earthy portrait of American toil and American history that captivates our collective gritty soul”

— New York Cool

If there’s one thing we Americanos do right, folks, its take our natural resources for granted, which is exactly what seems to be the case with one of our most woefully unsung national treasures, the Places, a.k.a. Amy Annelle and company. Her voice is strong and lilting, her aesthetic warm and grim, and it all amounts to transcendent and darkly jubilant modern folk. Fortunately, Amy takes nothing and no one for granted, and surrounds herself with some incredible musicians for live renditions of album songs and occasional other treats. Accompanying her at Hotel Utah was a violin and an upright bass, with deaths and desires under the mossy logs of her songs coming through just as clear as the joy in every strum and boot-stomp. The fiddler was Ralph White, formerly of Austin oddball bluegrass band the Bad Livers. A gem in his own right, Ralph performed solo on accordion and banjo after the Places’ set and will soon be collaborating with Amy on a project as a duo. They played with every bit of gumption as they would by the fire or in front of a crowd of thousands” - Howard Wyman


COMMON FOLK, COMMON THREADS "Like genuine folk singers before...Annelle makes music borne up from the land. Keen, empathetic observers, they seem to move, like ghosts, through walls and locked doors and into the homes and lives of men and women they'll never be, yet whose stories are somehow always in part their own -- and our own." read the whole Billboard article here” - Susan Visakowitz


Sure, the Places' Songs for Creeps offers plenty of subtle spectacle. But the jack-in-the-box electronics, distorted guitars, and otherworldly production flourishes that permeate Amy Annelle's sixth album (fourth as the Places) make her extraordinary scrap-yard Americana that much more surreal, as on the mini-epic "Natural Arc." When a distant doppelganger answers after she sings, "A glorious dawn is descending," the Portland native comes off like a less-weathered Lucinda Williams in the midst of invoking Lilith. Exactly why she's opening for Vicious Vicious when she should be closing for the Handsome Family is anybody's guess. We're just lucky to be basking in her presence. Unconditionally recommended. —Rod Smith” - Rod Smith

City Pages

the news and the muse