Jenn Lindsay
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Jenn Lindsay


Band Pop Singer/Songwriter


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The best kept secret in music


"textured and wonderfully crafted"

I admire Jenn Lindsay’s ambition as much as her music. Uphill Both Ways requires repeated listens to truly appreciate the multiple instruments, hypnotic vocals, and inventive song structures. Even the stuff I didn’t get at first seemed textured and wonderfully crafted by the third, seventh or 16th time I heard it. Uphill Both Ways reminds me of this bootleg I have of the Beach Boys in the studio after Brian Wilson entered his orchestral phase. Jenn’s songs are acoustic at their core, then layered with instruments and harmony vocals. Jenn's voice itself is intriguing and versatile - it can be storytelling, lilting, and/or commanding. The first two songs – the title track and “Brain� – are spunky almost-power pop. “Brain� in particular is a killer, urgent and percussive with a dramatic string-synth ending. One of my few problems with the disc is there’s only one truly up-tempo number after the first two. But it’s “Memphis� – strange and cool, with guitars that twang and ring in harmonics and Jenn’s wistful vocals – and it’s both rockabilly and pretty. Some of the tracks are haunting – “In Brooklyn,� “Postolka,� and “Belong Alone.� At first, I didn’t dig the backing vocals on “Being Alone,� but it became one of my favorites – the lower-register vocals made sense in the context of Jenn’s plaintive singing, like voices lost and looking for but just missing each other. “Postolka� is daring and breathtaking – I don’t know what that accordion-sounding instrument is in the background (an accordion, maybe?), but it’s a riveting anchor against which waves of percussion and vocals crash. Even the songs that don’t grab me as much are charming: “I Knew You� is a bit too clever lyrically, but the acoustic guitar runs are nifty. “It Came 2 Me� seems kind of Alanis Morrissette-ish, but it has a catchy, off-kilter bounce. I like the guitar picking and spooky singing in the ode to Hurricane Katrina victims “House in New Orleans.� But it’s a little too earnest, and the idea of setting a Katrina tale to “House of the Rising Sun� has already been done so brilliantly by the Blind Boys of Alabama. But the next tune makes up for it. “Christmas Song� is indeed a strikingly original holiday song – simply guitar and washes of percussion, and a clever juxtaposition with the classic “Let It Snow� melody. It was while listening to the final four cuts – everything from “New Orleans� to "Kitchen Sink" (Jenn saves her best lyrics for last) – that I realized the aforementioned Brian Wilson connection. They seem almost like they belong on a different CD, as if they were overheard, recorded by someone in another room. It would have been cool to mix in some of these among the denser numbers. I started writing this review with the idea that Jenn Lindsay was a gutsy performer who sometimes overreached. I finish this review, after dozens of listens to Uphill Both Ways, as a true believer, and I encourage her to keep it up. - Muse's Muse - Chip Withrow

"Americana UK - Paul Kerr"

Sixth album from Lindsay is an assured return to the musical fray after a year out as a student. Playing most of the instruments (bar drums and bass and occasional keyboards) she has achieved a mature and musically accomplished set with a full sound that is radio friendly at times despite the DIY ethic behind the recording. While she hits out at targets such as the debacle surrounding the flooding of New Orleans much of the lyrical content seems to be more personal but with no self-pitying “ look at me� miserablism. In fact the album as a whole is upbeat with excellent harmonies and memorable tunes. “Brain, � a break up song thrashes along with driving guitars to the fore. Better still is the next song, “Belong/Alone “ with opaque lyrics (adapted from poet Christian Wiman) and engaging harmony vocals. On occasion (“In Brooklyn� and closing epic “Kitchen sink�) the lyrical approach is similar to that of Loudon Wainwright’s, at times the vocal arrangements are reminiscent of the Roches, but Lindsay can also take a simple guitar/voice arrangement as on “I Knew You� add some great lyrics, “You are such a tough guy now, The doors are closed to me, Years locked in a lockbox, And you swallowed the key� and captivate the listener. Some of the arrangements on this album are sublime, “Postolka� (another arrangement of a poem by Wiman) has layered vocals suggestive of David Crosby’s solo work. Vocally strong, at times vulnerable, at others, strident, Lindsay has achieved an excellent piece of work which deserves to be heard. - Americana UK - Paul Kerr

"Altar Magazine"

The Last New York Horn is the fifth release from anti-folk singer and songwriter Jenn Lindsay. It’s an intimate, highly personal affair, featuring reflections on her own life, national politics, and as hinted in the title, New York City. The album mostly features acoustic instrumentation and gives center stage to the singing and lyrics. Lindsay’s voice is strong and pleasant and at times she demonstrates remarkable control. Her vocal flourishes provide the highlights of some songs, but her singing is never overdone or distracting. I found her vocals to be very engaging, and her obvious accomplishment is a big part of what makes this album an effortlessly enjoyable listen. Lyrically, the album is introverted to a fault. The songs all, to a greater or lesser degree, revolve around Lindsay’s life, and this is both a strength and weakness for the album. While songs like “Jill + Jill,� an account of Lindsay’s exploration of her homosexuality, are interesting and affecting, others, like “Doggy,� yes, about dogs, tried my patience a little. The best tracks on this album feature enough wit to make the heaviest subject matter easy to approach, but others, like the aforementioned “Doggy,� strangely seem to approach their subject all too earnestly, as when Lindsay sings, “do not leave your doggy alone/do not leave your dog alone at your home.� My sense of the album is that Lindsay will either win you over with her insight, well-expressed emotion, and bare-all approach to writing or she won’t, either making songs like “Doggy� charming and forgettable or else fatally irritating. I think most people who are open to singer-songwriter acoustic music will fall in the former group, as I did and find this to be a good disc overall. It certainly helps that the music is very well crafted and almost never feels like an afterthought to the lyrics, an all-too-common pitfall in this genre of music. She succeeds in evoking a variety of moods while varying the tone, rhythm, and instrumentation from track to track. The production is quite sympathetic, balancing the various instruments against Lindsay’s voice well. This is a very enjoyable and easy listen. Lindsay is a talented and engaging singer, and The Last New York Horn is a good bet for those looking for personal and emotional acoustic rock music. (Review by Chris Sherman) - Altar Magazine

"Entertainment Today (Los Angeles)"

There is something deliciously earnest, almost childlike, about “Doggy,� a stop-start song on piano that appears about halfway through Jenn Lindsay’s fifth album. “You’re so lucky your superintendent even lets you have a dog,� Lindsay sings, and the listener can take this at face value. But “Doggy� also touches upon the dominant themes in Lindsay’s songs: fighting against the blind cruelties of the world and fighting for a shot at storybook romance. As a young veteran in NYC’s underground folk scene, Lindsay’s best songs are empowering battle hymns for society’s perpetually downtrodden. Her unflinching lyrics are always a strength; she has perceptive and sympathetic eyes. She doesn’t spare herself from her razor gaze, but she recognizes the greater enemies (Dubya, I’m lookin’ in your direction). Other songs show that she realizes that even activists should find time to fall in love and be sexy and silly. Sometimes, however, she gets a little too precious, like when she sings about Jill and Jill coming down the hill or when she wistfully sings of “Califorlornia� (famous for our Californication?). And occasionally she is distracted by folk songs celebrating the unrecognized struggle/importance/dedication of folk singers (“Beauty Queen,� “Sidewalk Song�). On The Last New York Horn, surprisingly, it’s the varied instrumentation and melodic arrangements—rather than the words—that linger longest (“Cedar Trees,� “Winter�). But, in an election year, there is one line that rings loudest of all: “It’s your beat-up, bullied, bamboozled nation. It’s your people. And you should listen.� -- Adam McKibbin - Entertainment Today (Los Angeles)

"Village Voice: Amy Phillips"

Something good has to come out of the current economic downturn, right? Well, hereˆs one: anti-folk singer-songwriter Jenn Lindsayˆs new EP, Fired!, a concept record about not fitting in with the white-collar world, despite many desperate attempts. These are anthems for every bored receptionist out there, every artist struggling to survive on temp work. Because, as Lindsay knows, getting fired can be just as bad as getting dumped by a lover. (Phillips) - Village Voice: Amy Phillips

"New York Press"

Insensitive folkie gal starts out as what Chrissie Hynde should’ve become with the lilting greatness of Uphill Both Ways. - New York Press


The Scoop: It’s a strange, ironic, hierarchical and oft-horrible thing, this indie music business. The cold truth of being an indie music reviewer is that about 95 times out of 100 the package from Matador or Merge or Barsuk or Saddle Creek is going to be better (on every level) than that hand-written package from the 87th dude this month who dropped you an e-mail about getting his stuff reviewed. Folks like Jenn Lindsay, then, provide reason (and reminder) to keep returning the e-mails and giving honest listens to every damned disc that comes in the mail. Because you never know. A true DIY renegade, Lindsay’s Fired! is one of 2003’s least commercial albums; a six-song album (EP?) that is a concept album about mundane jobs and unemployment. Fired! revolves around the sort of strummy, uber-aware folk that people talk about fondly but rarely request from the radio station. Included is the hip-hop Mother Goose of “Tick Tock,� an experiment that even cheeky self-awareness can’t save from the skip button. The rest of the album is a success; simple melodically but lifted by Lindsay’s compassionately incisive lyrics and her vaguely Joni-esque voice. She is a credit to the NYC music scene. Unfortunately, the Big Apple—forever brimming with the jobless and the indignant—will give Ms. Lindsay fodder for songs as long as she cares to keep her sympathetic eyes open. - Suite

"Audience Quotes"

"Jenn Lindsay engaged the audience at Ladyfest Ottawa in a way that most singer-songwriters could not parallel. Her on stage charisma combined with carefully crafted songs has left fans in Ottawa anxiously awaiting her return. Jenn Lindsay was an excellent choice for our Ladyfest line-up because she represents a figure that most young women at Ladyfest can identify with - a rebellious artistic soul who can celebrate both her triumphs and her feelings of being lost in this large, overwhelming world."
Lesley Dishslayer, Ladyfest Ottawa

"Totally awesome."
Tami Hart, Mr. Lady Records

"Your kind of talent is rare indeed."
Carol Polcovar, NYC Fresh Fruit Festival

"Friggin' genius!!"
Les Reynolds, Indie

"Reminds me of an early Suzanne Vega, with her Lower East Side references and the great songwriting."
GrooveOut/Outsmart Magazine

Miguel, Stanford University

"Jenn Lindsay is a really smart and driven person with a great, unapologetic vision. Gotta Lotta is a pretty brilliant collection of songs... really rich. [The title song] is a great tribute to the people here we've shared everything with."
Casey Holford, NYC Musician

"when i started listening to Jenn i didn't know what i was in for, but a veritable tsunami of the best writing i've heard in a good spell, which is to be taken as a compliment, given that i am an english major, and that's my job description, to appreciate good writing. Bravo bravo i love good words...the CD is, quite frankly, brilliant..."
Eric Adams, University of Michigan at Grand Rapids

"Jenn Lindsay's got four-billion dollars right there in her soul. She electrifies the room, giving a priceless performance by sending currents of truth and razor-sharp wit coursing through the listener via distinctively fresh melodies and pipes that reach lofty highs as effortlessly as they caress sexy lows."
Robin Aigner, The Rising, Brooklyn

"At the Antifolk Fest you were a shining star among tinfoil. i'm sure there's a fool's gold analogy that could be exploited too, but then i'm not really a true geologist... anyway, i look forward to future gigs; what will it take to lure you to the Upper West Side??"
Christa Farmer, Columbia University

"it is in times like these that is most important to stay connected to the beautiful life-affirming things that cross our path. It's therefore important to know that Jenn Lindsay's new CD absolutely rocks. I received a copy of it in the mail last night and have been rocking out ever since. It received 5 stars from everyone who I worked with today and who were blessed with a chance to hear it."
Sasha Leitman, Stanford University

"Jenn Lindsay is an important and inspiring new voice on the music scene. Her lyrics are original and either funny or moving, often both. She's documenting the artist's life in New York City in these strange times, and she does it really well. I'm a huge fan!"
Elizabeth Stark, author of Shy Girl

"I'm so glad I bought your CD - it's great! You are also one of the best live performers in any genre that I've ever seen. Thanks for the experience and I know that I'll be better enough to see you play next time. You are de berry berry best!"
Sarah, NYC

"After hearing your music, l'm convinced that another Lindsay will be taking over New York"
Seth, NYC

"Thanks again for your music the other night. It was fun and ballsy and good."
Gabriel Faure-Brac, NYC East Village

"Jenn played at a house concert with Gina Young and Jolie Rickman and her set was really intimate, intelligent, and fun. I never knew a songwriter who can make you laugh and also make you really really think about your life. Thanks. Holy folksinging, batman!!"
babyjess, on

"an absolutely original grrlnguitar act!I bought this from Jenn after one of her AWESOME live shows at the Sidewalk in NYC and it quickly earned a spot amidst my very favorite cd's... if the good word don't spread fast about Jenn Lindsay then this world doesn't live up to itself..."
liz, on

"awesome stuff....Jenn Lindsay exudes an extraordinary sense of strength and empowerment when she sings. An amazing woman with a powerful voice and message!"
Heidi Boas, Stanford University

"Jenn Lindsay is a woman of deep courage and a singer of raw, beautiful, funny and sometimes painful truth! Her lyrics are poetic and insightful, and she sings her words with a passion that grips you and lifts you up."
Caitlin Sislin, Stanford University

"I Am Not Going Home Yet (either!!!) Can I send that song to my mom?"
Reviewer: You Rock

"Amazing and fun and soooo dynamic. Brava!"
cityprincess, The Rising, Brooklyn

"Jenn's songs often bring contrasts together in a unique way. She makes truly thought-provoking critiques of the social world, and she makes truly moving descriptions of love and of loss, sometimes all together in the same song. She manages this balance successfully, with voice and guitar full of b - Audience Quotes


IRED! Reviewer: J-Sin on web

Jenn Lindsay has her finger right on the pulse of the whole wide world of working people everywhere. Sure we care about terrorism and whether or not the dude sneezing next to us is going to give us SARS but what we really fear is losing our job or being stuck in a job that we hate because there`s no other ones out there. So Jenn Lindsay presents us with her album focused on that very flammable topic that we all find ourselves obsessing with. Playing incendiary yet muted folk and as she says it is indeed for the jobless, the brave, and the indignant. Real damn good too. “Not a Good Fit� is the music equivalent of middle America and poor America shaking their collective fists at the CEOs who say their companies are losing money and need to send jobs to Mexico yet these same companies pay millions in bonuses and compensation to keep those weasels. And in a town like New York City she must identify with millions! She`s got my attention and she`ll get yours as well. Just listen, you`ll love it.


THE LAST NEW YORK HORN Reviewer: J-Sin on web

Matching the subtle intensity of her “Fired!� album would be a daunting task for your average singer/songwriter but Jenn casts all doubt aside with her album opener “White Room� not to be confused with the Cream song mind you. Her knack for writing about the things that your average Joe cares about is special and gifted. Sure her music is anti-folk but its pro-everything that anyone looks for in music. Nifty lyrics sung in a melodic and almost haunting voice that carries above the laid back journey of this sultry soft folk rock. “Jill+Jill� tells the tale of a self-realizing lesbian and all the confusion that arises from the so-called alternative lifestyle (how can someone question your sexual preference when its been around since the dawn of woman and man?). It’s these kind of tales that she weaves in her songs that will have you clamoring for more. This is a very special singer/songwriter.

"Delusions of Adequacy"

In the true indie sense, Jenn Lindsay has made a lot of fans while doing just about everything herself. She financed this album by playing guitar and singing in the New York City subway, and her receptionist job helped with the cover art printing (and office supplies, of course). In fact, her biggest help - beyond fan support of course - was from Major Matt Mason USA, who produced the album. As an important figure in the New York antifolk scene and owner of Olive Juice Music, Mason's name may lend the album weight and get more out of Lindsay's sound, but the music here is all Lindsay. You've heard female singer/songwriters before, and there's not much here besides Lindsay's voice and acoustic guitar. As a transplant to New York City's antifolk scene, Lindsay fits right in, playing songs that are at times biting and sardonic, at other times lighthearted and playful. Most of all, her music is sincere and honest, and you get the sense that she loves what she's doing with all her heart, which goes a long way to making this album more accessible and enjoyable. The opener "Red Shirt," is a lovely song, light and sweet sounding, with Lindsay singing sweetly "hold me close." Her catchiest song, "Olly Olly Oxen Free" will have you singing along, as her voice blends nicely with her music, sounding akin to Joni Mitchell many times. When she speeds up a bit, telling her stories in songs like the impressive and rebellious "I Am Not Going Home Yet," her music feels a bit more like Ani Difranco and takes on more intensity. She fills out "I Call Myself a Flower" with keyboard, giving the song a more playful, kaleidoscope feel, while some nice vocal effects fill out the sweet sounding "I Stayed Home Today." The very quiet "Tower of Toys" feels very honest, very powerful due to Lindsay's singing and some soft strings. If you've had it up to your ears with acoustic singer/songwriters, you're not going to like Lindsay much more, but her music has an undeniably sincere and honest approach, which goes a long way in my book. These songs are very well performed and produced, and the music is charming and sweet while still being sarcastic and introspective at times. It makes for a fine album. - Delusions of Adequacy


Hear Tracks at

Uphill Both Ways 06
Perfect Handful 06
Last New York Horn 04
Fired! (EP) 04
Gotta Lotta 03
The Story of What Works (EP) 03
Bring It On 02


Feeling a bit camera shy



Jenn Lindsay grew up in San Diego, California and presently lives and plays shows in New York, New York. Since Jenn started touring nationally in 2002, she has played her songs in exchange for free catfish in Alabama, sang to a room full of friendly cowgirls in Amarillo Texas, entertained in Vegas, and played encores to Ladyfest attendees in Memphis, Brooklyn, and Ottawa. Her music has been featured on NPR's "All Songs Considered" program, WFMU, MTV, in the pilot series of "Something Blue" by Brooklyn filmmaker Emily Millay Haddad, and in the November 2006 issue of Curve Magazine UPHILL BOTH WAYS is described as "a complete joy from beginning to end...hard not to love."

In her time playing on New York City's folk circuit, Jenn's music has attracted a lively fanbase and enough buzz to fill a room in the East Village. Lyricist, guitarist, singer and poet, Jenn has been a Boston Globe Calendar Pick, recognized in Entertainment Today for music that is "deliciously earnest...Lindsay’s best songs are empowering battle hymns for the perpetually downtrodden," and was featured on the Village Voice weekly short list. Her style has been best described by fans and the media alike as intelligent, tender, and unaffected--or, according to NY MakeMusic, "a welcome blast of taste and sincerity." Jenn's musical community is the NYC Antifolk scene, a hub of musicians based in the East Village's Sidewalk Cafe, who share a mutual distaste for mediocre, well-packaged mainstream music.

In 2001, Jenn relocated to the brutal, unforgiving snowlands of New York City to jumpstart her career. Later that year, she released her self-produced debut album, BRING IT ON, peddling the album through grassroots efforts. 2002 saw the release of Jenn's second album, THE STORY OF WHAT WORKS, a title that is aptly inspired by her newfound understanding of the industry standard. She played every instrument on the record. Her powerful delivery of such songs as “I Am Not Going Home Yet,� and “Got My Baby� helped her gig schedule to grow into a roster of regional festivals, Ladyfests, house concerts and appearances at such popular folk destinations as Club Passim’s Cutting Edge of the Campfire Festival in Boston. In late 2002, Jenn released her third album, GOTTA LOTTA, a showcase of "songwriting genius" ( In 2003, Jenn released FIRED!, a personal testament to the unemployed and the economic slowdown. The EP, "fun-loving, buzzing and well-produced" (Village Voice) explores themes of seeking work, struggling with dayjobs, the workplace hierarchy, and rising unemployment rates in the United States. THE LAST NEW YORK HORN, Jenn's fifth studio album, was called "one of the best folk CDs of all time" by CD Baby founder/CEO Derek Sivers.

A few years ago, Jenn worked as a stargazing guide in Lake Tahoe, taking folks in a boat to the middle of the lake at night to tell them star stories; that deepened her interest in non-Western celestial mythologies, so she lived in Peru for a year studying Andean star myths and the locals' relationship with the sky. She's biked across the USA (which ruled), run a marathon (which totally blew, but she might do it again), and despite a general sense of adventurousness she is terrified of heights. She is delighted by fractals, Will Ferrell, David Sedaris, and funny-looking dogs. Oh, and she drives stick shift.