Katie Henry

On My Way

Ruf

New-Jersey based roots-rocker Katie Henry leveraged her acclaimed 2018 debut High Road into signing with one blues music’s top labels, Ruf, for her second release On My Way. If you heard her debut, you know that Henry plays several instruments, but she slims it down a bit this time, playing just guitar and piano. Fellow Jerseyite John Ginty, a superb artist who, just after the album released, became the keyboardist for the Allman-Betts Band, was the main driver on her debut. Ginty recruited an all-star lineup but renowned blues guitarist Ben Rice steps up to deliver an equally impressive backing cast that includes her co-writer on these ten tunes, bassist, slide guitarist and vocalist Antar Goodwin who returns from the debut. Henry gets assistance on keys from Kurt Thum who plays both piano and organ with Greg Wieczorik on drums and percussion. Continuing the legacy of the late Ben Elliott of American Showplace Records, who originally signed her, British harp ace Giles Robson guests on “Too Long.”

Unlike most Ruf albums that feature female artists, Henry mostly brings rootsy songs rather than shredding blues-rock (oh, she’s got a little of that too).  She’s a gifted singer, capable of wailing as she does when the moment calls for it but has plenty of nuance in her vocals too. She has a flair for songwriting that encompasses a wide arc, one that includes roots, R&B, funk, pop, and rock.  While she might sound more smooth than gritty, she has terrific phrasing, akin to a jazz vocalist at times.

Unlike many albums recorded during the pandemic that layered in parts from several studios, this was recorded live in the studio in Brooklyn. Listening to songs such as the rocking title track, “Bury You,” and the ebullient, chugging “Got Me Good” one easily senses the unbridled energy of a live session.  Others such as the shuffling “Empty Cup” are buoyed by Thum’s organ in tandem with Henry’s piano. The album alternates potent rockers with crafty roots songs such as “Blessings,” which features a nice piano turn from Thum. “Without a Fight” takes it up several notches with Henry’s wailing climax, stunning and beautiful. “Bury You” is the first one that digs deep into the blues, with a strong undercurrent of Mississippi stomping blues. It’s s showcase not only for Henry but the guitar tandem of Rice and Goodwin.

These are personal songs that Henry sings as if she unequivocally owns them with utterly convincing results. She comments, “The album tells a story of perseverance, which has been a main theme in my life and especially my musical journey. Quieting the voice of doubt and strengthening the voice that says ‘Ya know what? I can do this!’ is something that I am constantly putting into practice. One of my hopes for the album is that it will strengthen that voice of hope and determination in people when they listen to it.”

After the electric charge of “Bury You” she and Goodwin deftly sequence in the touching ballad and standout track “Setting Sun,” revealing her vocal nuances. The second deep blues cut “Too Long” spotlights some filthy harp from Robson, but one gets the sense for the only time on the album that Henry may be trying too hard to deliver gut-wrenching vocals. It’s not her strength. She’s much better on the more rootsy material. The song does feature great interplay between Rice’s searing guitar and Robson’s harp and succeeds on those merits. Quickly we find Henry on firmer rootsy ground as the keyboard driven “Running Round.” The closer, “Catch Me If You Can,” gives the album symmetry as it bears similarities to the opening title track.  She sounds bold and liberated here in keeping with the album theme. Rice’s piercing lines bathed in Thum’s swirling B3 underpin Henry’s gorgeous soaring voice.

Henry is not only on her way; she is taking more control as she moves up. Even at this early point in her career, her talents seem wide and virtually limitless. One hopes she grows an audience that is broader than just a blues-based fan base because she her calling, at least for this writer, lies more clearly in the roots-Americana realm.

• Jim Hynes

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