Birdie Nichols “Into the West” (LP)

Debuting with such a thoroughly realized effort like Into the West sets a daunting bar to clear for the future. Arizona-born seventeen-year-old Birdie Nichols’ first collection is a tightly focused nine song collection showing satisfying diversity rather than relying on formula. A surprising amount of relatively ingenious wordplay powers many of the songs and it makes for an interesting marriage with the often rootsy arrangements. Instrumental breaks are at a premium. This isn’t a song cycle designed to highlight pseudo-virtuosic showcases but, instead, examples of condensed songcraft. Into the West is an astonishingly complete listening experience.

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It definitely embraces a particular language. The verbiage of “Into the Wild”, the album’s opener, mines the vernacular of the American West, even reaching back into the region’s history, and it stays an abiding aspect of the collection’s character. Nichols wrestles the lyrics’ phrasing demands with relaxed skill and interjects each line with immense character. “Into the Wild” presents one of the bedrock faces of her musical identity with this song, but it’s far from the only stylistic card she plays.

Proof of that arrives fast. “Tough as Diamonds” is one of Into the West’s most appealing numbers. It takes the relatively unusual step of beginning with the chorus. However, it is a move that pays off. Nichols propels listeners to a dazzling early peak and maintains that level of excellence throughout the cut. Sturdy arrangements are one of the things working in the favor of Into the West’s songs and “Tough as Diamonds” is one of the best.

“Blue Lighting Ambush” is one of the album’s centerpiece tracks. One of the underrated qualities running throughout the album’s nine songs is its affinity for theatricality. She never overexaggerates, and its light touch invests the album’s mood with added drama. Pretentiousness is never a risk. However, Nichols returns to far more traditional territory without losing a step. “No Cattle Kind of Cowboy” is a boisterous and feisty performance that gets under your skin with a single listen. Her ability to contemporize western imagery and deliver it in relatable fashion continues setting her apart from the pack. The sleek, full-throated production enveloping the instrumentation adds a final decisive touch.

“Gunslinger” is one of Into the West’s most highly stylized gems. The steady near-careening pace of the performance contrasts nicely with the bracing presence that Nichols’ vocals provide. It’s a testament to the quality of Into the West’s material that they can branch out like they do here without any fear of upsetting the album’s consistency. You can hear confidence in this performance, and it helps carry the day. “Desert Lilies Blooming” is an obvious pick for a single release and represents Into the West quite nicely. The song’s storytelling has a greater chance of success if its imagery connects, and there’s no doubt it does during this track. The chorus is especially a winner.

“Golden Fields of the Sun” is a powerful conclusion. It has a lightly grandiose feel that engages listeners from the outset and has arguably the finest lyrics included on Into the West. There’s very little that this album doesn’t do and there isn’t an instance of filler found among the nine tracks (ten counting the bonus acoustic reworking of “Blue Lightning Ambush”). It’s a thoroughly rewarding release.

Mark Druery