Sara Lynn

Vancouver’s Sara Lynn is not who you think she is. Just when you imagine you’ve got her pegged, the singer, songwriter will up and surprise you by revealing something that makes you reconsider your original hypothesis. And ”Don’t Call Me Angel”, her sophomore release, carries on the everevolving Sara Lynn story in a most fitting fashion.

Sure she’s got the killer looks, keen fashion sense, confident swagger and vocal chops of a top-of-the-charts diva-in-the-making, but Sara Lynn is so much more than your average pop princess. Think the worldly pop of Madonna, Amy Winehouse’s retro groove, a smidgen of soulful Adele and a pinch of Natalie Merchant-style Americana and you’ve found a starting point for this leg of Sara Lynn’s musical journey.

“It’s an honour to be compared to artists like that,” she says humbly. “I don’t necessarily feel I really sound like any of them but I like to think I’ve incorporated a little bit of something from every strong musical female that’s gone before me in becoming the artist I am today.”

She may be a relative newcomer but Sara Lynn is no stranger to the U.S. music charts. “A Thing or Two” and “A Love Like This” from her debut album ”Thing For You”, a decidedly more Americana-flavoured outing than ”Don’t Call Me Angel”, charted on the Music Row Country Breakout chart and on both New Music Weekly’s main Country and Indie charts. But before you go pigeonholing her as a rising country star, Sara Lynn’s debut really only hinted at the musical direction to come on “Don’t Call Me Angel”.

Sara Lynn says of her early American radio successes, “I wouldn’t necessarily consider those songs to be country, more Americana than anything else. I’ve always liked that flavour and I’ve kept some of it on this album in songs like “Walk Me Home” and “Shape I’m In”. I think when I was writing them I really hit my stride, I felt really good about where it was going.”

Where Sara Lynn was headed was towards a tightly knit collection of smart, confident, well-crafted songs that reflect her eclectic nature, musically and personally. Finding chemistry with co-writers including Richard Dolmat, Jason Nickel and Juno winner Tim Hearsey helped Sara Lynn explore musical paths she hadn’t previously probed, resulting in an impressive collection of internationally-flavoured tracks that skilfully mine the rhythms and traditions of swinging jazz, dance, pop, soul, folk, electro, chill-out and Americana.

“I am so proud of what I’ve been able to accomplish with these songs,” Sara Lynn says. “This album really speaks to where I’m at right now, as well as to the things that make up who I am and how I’ve come to be standing here today.”

It’s been quite a journey to get to “Don’t Call Me Angel”. The hundreds of hours logged writing songs, thousands spent on large and small stages across North America, and countless time in between finding inspiration in the situations and people around her have resulted in a cohesive, fresh sound that hugs the curves of multiple genres without planting a foot firmly in any one.

“I guess as an artist I’m taking a bit of a risk in making such an eclectic album,” she admits, “but I figure you’re never in the same mood all day long, and it’s that way with music – albums don’t have to sound the same from start to finish. People don’t want the same thing over and over - that’s why they make variety packs.”

Case in point is “Don’t Call Me Angel’s” first single, “Gorgeous Imperfection”. A firm believer in female empowerment (“I’m a big fan of women like Pink, Bonnie Raitt and Chrissie Hynde”, she says, “because they’re not afraid of being seen as strong”) Sara Lynn knew the sample track that eventually became “Gorgeous Imperfection” was strong enough to demand equally robust lyrics so she set about crafting an inspiring ode to celebrating the beauty in being flawed. Layered with a sensual, hypnotic, electro-pop groove, it’s a musical message that unites body and soul.

“I like things that are different,” she says. “And “Gorgeous Imperfection” is really about honouring your personal magnificence, even if it’s not traditionally viewed as mainstream beauty. Things that aren’t perfect are sometimes more beautiful than those that are.”

What comes close to perfection is the sexy, jazzy vibe that anchors “Walk Me Home”, one of the songs that awakened Sara Lynn’s new musical direction and helped her find her stride. Led by a swampy bass and Pulp Fiction-esque guitars it conjures up the heady mix of anticipation and expectation that surrounds connecting with a new lover to be.

Another stand-out is “Storm Crow”, which Sara Lynn describes as having “a cool flavour. Although it’s more poppy and soulful it’s still a bit dark,” she says. “It’s about being in love with someone who’s lying to you, and you know they are lying but you still want to believe them.” She laughs, “It’s all about denial, really.” And one of the surprises of “Don’t Call Me Angel” is the inclusion of “S