Alicia Stockman

The latest release from Alicia Stockman blends a refreshing and tasteful set of Americana with naturally beautiful instrumentation blended with a wonderful set of vocals that are all performed with a massive character.

The These Four Walls album is personal but showcases a great sort of grit that really lets the artist shine the way she was meant to.

These songs have heart and seem to all be coming from a real place and this is a major part of why the record itself is so addicting.

Songs have some great range in terms of songwriting and there are songs that pull at the heartstrings and songs that give off a different attitude but they all come together like a concept album would.

The record has a certain gracefulness to its approach in both songwriting and performance that gives it the feeling you get listening to Elton John or Dolly Parton. You get that in the moment feeling and it almost makes you feel young again.

This was completely beautiful and really showcases the artist's ability to write songs that stick with you long after it's ended.

The instrumentation is textured and colorful with an energy portrayed that isn't always easy to come by in general.

Upon listening to the full album you get a sweet aftertaste that feels like the warmth of the sun hitting your face.

It's an honest and upfront record that Stockman clearly was brave enough to strip down to her inner thoughts and emotion to lay down in the form of song like this.

Maybe that's why it's all so appealing as well.

Not only are the songs woven wonderfully but they are brave and relatable, cinematic and powerful.

Dive into this record when you can. It's incredibly worth your time. - The Sounds Won't Stop

Zesty debut from Utah folkie turned Nashville country rocker. Alicia Stockman releases These Four Walls.

Released: 5th November 2021

Record label: Self Released (Bandcamp)

Format: CD / Digital

It’s proving quite a fertile week or two for female singer-songwriters of an americana bent, as, hot on the heels of Margo Cilker, here is another one to watch and listen out for. Hewn from a decidedly rockier background than Cilker, derived from the years of service Stockman gave to sticky carpet rock and roll bar bands, this is her first full length release. Starting her solo career with rather more laid back material, this now sees her sound recalling the lure of an electric setting. With a band that sound familiar with the material, material seeming honed on live performance, rather than just hired hands, she has Mary Bragg, similar kindred spirit of a year or three back, at the production desk, giving an overall sound that is solid and tuneful. The 10 songs, all bar one coming under the four minute mark, pack a sizeable punch, with her vocals at times akin to Lilly Hiatt. At other times, especially in slower mode, she reminds a little of the recently deceased Nanci Griffith, at the time when she too was young and starting out. Those comparisons no small beer, her songs hark also back to her self acknowledged influences of the Indigo Girls and Patty Griffin.

No messing, the set kicks off with ‘Stay Between the Lines’, shimmery guitar, drenched in reverb, with chiming steel also setting the scene, before Stockman’s voice comes in, Mary Bragg adding some sepulchral backing vocals behind her. Not a moment too soon, the engine room kicks in with a near motorik beat, driving the song forward, towards triumphal conclusion, peppered by blistering guitar, with this and the steel guitar courtesy one Josh Kaler, a veteran of the Nashville sessions scene, and sometime member of Dar Williams’ live band.

Thereafter, sticking close to that template, songs vary sufficiently in mood and timbre to keep interest alive, the rhythm section of Jordan Perlson (drums) and Own Biddle (bass) always prominent in the mix. Cracking open the c.v.s of the band it seems, against the impression, that this actually has been convened and created for this record, which makes the cohesiveness of their performance all the more impressive: Perlson is a cross genre powerhouse, with credits ranging from Snarky Puppy to Matisyahu with Biddle having performed for Aaron Lee Tasman Heather Nova and, applicably, Lilly Hiatt.

Highlights are many, but include the pensive ‘Used To the Cold’, where the Griffith comparison comes to the fore, over a piano and steel backing, her own acoustic guitar a constant metronome. It is a galling song anecdoting how alcohol can destroy a relationship: “Isn’t it strange how we all get used to the cold?” ‘These Four Walls’ is a moving treatise on mental health, with ‘Halfway to Houston’ another lonesome steel sad song. Perhaps a sister song to ‘By The Time I Get to Phoenix’, if from a female perspective, it begs attention from any background distraction so as to get the full weight of the emotional heft. Phenomenal.

Elsewhere there is a change of texture, with Jon Estes supplying some elegiac cello to a couple of tracks, of which ‘Just Checking In’ is particularly effective. For me the only sore thumb is the somewhat slighter jug band stomp of ‘Sweeten the Deal’, all ukuleles and harmonica, the sort of thing Maria Muldaur does in her sleep. Estes, now playing stand up bass, does however manage to redeem it from being entirely throwaway. Strangely, the other song with harmonica, Jelly Roll Jackson, a slow blues, ‘Lonely Together’ comes together far more successfully; maybe Stockman is just more convincing when her chips are down. Such is often the case in the sounds of Music City, USA.

This is a powerful debut, the largely strong selection of songs laying down her credentials as one to watch. With the thrust of a major label picking up on this, I have little doubt she could become as well known as the names she checks as her stimuli to play and perform. - At the Barrier

Well, I think we can all agree that ‘The Holiday‘ is probably the worst Rom-Com of the last decade, and it’s good to know that Alicia Stockman is not so desperate for company that she’s willing to sell-out for that kind of saccharine tosh. Nope, as she says on ‘Lonely Together‘ : “we can watch bad rom-com movies, criticise the sappiest parts / our station on the sofa will be a nation of two lonely hearts.”

The song is taken from the Utah based singer-songwriter’s debut album ‘These Four Walls’ which is, she says, a collection of “songs to make you feel and feel seen, the album says, “I see you. I’ve been there. I understand.”” It’s an album that sees Stockman concentrating on her own music having started off performing in a loud rock n’ roll band playing bars with sticky floors and belting out Stevie Wonder tunes. Her intimate music wasn’t really suited to that situation, but she has found a musical home in the folk and Americana worlds since playing more intimate venues. - Americana UK

The new track by Alicia Stockman was written to help the songwriter process a former relationship in which her partner had a severe depression/anxiety disorder. She openly discusses her own experiences with mental health issues to help destigmatize the conversation on mental health and to help others know they are not alone. - Cowgirl Magazine

Alicia Stockman is an American country singer songwriter whose simple and elegant story of human connection caught my attention. It’s called Lonely Together.

By Graeme Smith

Set in a supermarket, Lonely Together tells the story of one lonely heart observing another. Playing through her mind is the idea that they are kindred spirits, and neither should go home alone. Alicia’s soulful vocals are so charming, it seems impossible to turn down the invitation.

Based out of Salt Lake City, Utah, Alicia likes to create music that goes back to America’s folk and country roots. Her song writing has been acknowledged through various competitions and festivals. Lonely Together is taken from her debut album These Four Walls which is out now. - York Calling

ALICIA STOCKMAN- This singer-songwriter from Utah made HMR’s Baker’s Dozen in 2018 and found her way here again. Her brazen confidence filled style that she wears on her sleeve grabs you. You can tell she has been influenced by the likes of Patty Griffin and Susan Tedeschi . A tune about being a bartender really showed her open and cool attitude. Good guitar on “Grace” and Sheryl Crow type feel on “The Porter House”. Plus she digs Buc-ees! Word is that Alicia is working on touring in Texas in 2020. Hope to be in on that…….. - Houston Music Review

The Porter House is Alicia Stockman’s first ever musical release, making it even more impressive how good this track truly is!

Stockman is a singer-songwriter with an incredibly soulful voice and feel to her music. The chord progression here reminds us of a lot of the traditional soul/rock ‘n’ roll tunes, and the track itself also follows in those footsteps, with the lyrics telling a fantastic tale. Check her out below – we can’t wait to hear more! - York Calling

Alicia Stockman
Alicia hales from Utah and brings a fresh brave attitude to her music and performances. Her confidence is contagious and her choice of subject matter for her songs show a maturity beyond her years. - Houston Music Review

Alicia Stockman is a folk artist that is as authentic as her songs. Her girl next door look is not a gimmick, its her confidence and assuredness that has allowed her to pursue music on her terms. In 2017, Stockman was recognized for her craft, winning the Suzanne Millsaps Performing Singer Songwriter Showcase. It was another step in Stockman’s musical journey. 2018 has proven to be a busy year for Stockman. She put together a band, began recording a series of singles, and is playing live in venues and festivals across the Intermountain West. Stockman is backed by Peter Kilian on keyboards, Nick Price on drums, and Nick Steffens on bass. On November 2, 2018, she released her first single “Porter House,” and now just released on November 30, 2018 a second single titled “Pretend.” - Staccatofy