Missy Higgins Albums (2)
What The Critics Say
On a Clear Night debuted at the top of the Australian charts in May 2007, knocking Silverchair's Young Modern down to the number two spot and solidifying Missy Higgins' status as an Aussie A-lister. Combining sass with sweet sentiment, the album marks a progression for the young songwriter, who was introduced in 2004 as the Melbourne equivalent of Vanessa Carlton. There's more in Higgins' cannon than piano-heavy ballads, though, and her sophomore disc relies heavily on the acoustic guitar, which lends a saucy swagger to songs like "100 Round the Bends" and "Secret." Higgins' lyrics aren't overtly erotic, but there's more than a hint of sex in the way she sings those two tracks, punctuating her endearingly accented vocals with moments of brazen, full-throated belting. She's part Sarah McLachlan and part Amy Winehouse, a family friendly singer with hipster appeal and, perhaps, a hint of diva potential. And lest this combination seem a bit too calculated, Higgins is still capable of crafting songs like "Sugarcane," a lilting piece of pastoral pop that builds on the template of 2004's Sound of White. "Angela," "I'm Going North," and "Forgive Me" all continue that thread -- but here, Higgins' piano remains de-emphasized in favor of an earthy, folksy instrumental blend. Guitar, banjo, mandolin, and acoustic bass are tastefully swirled together by former Crowded House producer Mitchell Froom, who knows when to adorn the songs with layers of sound and when to sharpen the focus on Higgins' ever-improving voice. Like her fellow countrymen in Silverchair, Missy Higgins' hometown popularity doesn't fully translate overseas, where American audiences have yet to replace those vague Vanessa Carlton comparisons with a proper understanding of her folksy, feisty, and altogether fun music. Nevertheless, On a Clear Night makes a very solid argument for reevaluation, and there's certainly no sophomore slump here. ~ Andrew Leahey, All Music Guide
What The Critics Say
The story behind Missy Higgins' "All for Believing," the young Australian singers' haunting, classically tinged piano ballad that launched her career, is the stuff of Hollywood dreams, even though the tale begins in a music class in Melbourne. At age 16, she had put off an assignment 'til the last minute and wrote the piece in a rushed half-hour before class. Her sister urged her to submit it to Unearthed, the national song competition run by the influential national alternative radio network Triple J -- and it won. When Los Angeles tastemaker KCRW started playing a live version of the song, Warner Bros. took interest and soon she was on her way to international stardom. Fortunately, she's not just a one-song sensation, as emotional and longing, more lushly produced tracks like "Ten Days" and the playful, folksy (and guitar driven) "Scar" demonstrate. At her core, however, Higgins needs little production to get her musical essence across -- sparse piano- and cello-enhanced tracks like "Don't Ever," "Night Minds," and the title track allow her to come across most honestly. Favorable comparisons to Kate Bush and Vanessa Carlton are inevitable, but as Higgins develops, there's no doubt she'll be the one up-and-coming singers want to compare themselves to. ~ Jonathan Widran, All Music Guide
