It signals a slight wind shift, a change in musical direction, bought about by the musical influences she's been surrounded by since moving from Austin, Texas, to Nashville, Tennessee, in 2017.
When Bristow, kicked off her career more than two decades ago, it was on the back of the song Blue Guitar, a song deeply embedded in country traditions. Blue Moon Rising is a different shade of blue, a languidly paced slow burner that shows off its soulful side with horns and organ straight out of the Muscle Shoal's hymn book and a pit-of-the-stomach howl that shows Bristow's vocals in a grittier than usual setting.
I almost get the blues thinking about how difficult it's likely to be for Bristow to get the kind of radio airplay she so richly deserves that would open her up to a wider audience. That's, unfortunately, the lot of so many great Kiwi musicians and songwriters. Suffice, to say, if you haven't followed Bristow's career, jump on board, and start to discover what you have missed. If you have, be prepared to be pleasantly surprised at the chameleon change.
After signing a production deal with Sydney based label Craving Records, Jackie Bristow set about to record her album Crazy Love with mixer/engineer Helik Hadar (Rufus Wainwright, Madelein Peyroux, Joni Mitchell) and producer/engineer Mark Howard (Tom Waits, Lucinda Williams, Marianne Faithfull, Sheryl Crow). With an incredible lineup of musicians including Australia's finest guitarist Mark Punch (Renee Geyer) along with international luminaries Larry Klein (Joni Mitchell), Larry Goldings (James Taylor), Tim Pierce (Rod Stewart, Tom Petty), Jay Bellarose (Aimee Mann), Zak Rae (Alanis Morissette) and more, the result has been a tour de force of stunning new material and a fresh new sound.
Jackie Bristow recently secured the support for legendary producer/guitarist/ composer Daniel Lanois on his recent Australian tour of April 2006. The run of shows took place in Adelaide, Melbourne and Sydney.
Relocating from New Zealand to Sydney, Australia in 1995, Jackie worked tirelessly for five years, writing songs, recording demos and performing across the city, all the while developing her own voice. A break came when her demo reached Michael Gudinski Management, resulting in a publishing deal with Mushroom Music and a recording contract with Gudinskis Liberation Records.