Meredith Moon’s third album, From Here To The Sea, finds the Canadian-born songwriter and instrumentalist taking a slight detour from the Appalachian old-time roots of the album’s predecessor, Constellations. Produced and recorded in Ontario and Nashville by Colin Linden (Lucinda Williams, T-Bone Burnett, Bruce Cockburn) and featuring Rebecca Lovell (Larkin Poe), Lillie Mae Rische & Dominic Davis (Jack White), Julian Taylor, George Receli (Bob Dylan), and Jerry Douglas, among others, the album explores avenues of blues, folk, and folk-rock while even incorporating elements of old-time jazz. Moon’s signature instrument—the banjo—still makes an appearance, along with the roots music that shaped her sound, but instead of being the anchor to the sonic palette, it creates a subtle backdrop as she allows her songwriting to take center stage.

The album kicks off with “East City Blues,” a loping modern-day folk/blues that showcases Moon’s nimble vocals and fingerstyle guitar. Producer Linden adds electric Dobro on the haunting “Poseidon,” and Moon’s clawhammer banjo is featured on the minor key ballad “Lulu Gal.” “Sapphire Blue,” the album’s first single, is an acoustic-based, mid-tempo groover that evokes a feeling of mystery in the search for an escape from a ’dark force’ of sorts, telling the story of driving across the continent looking for the light to lift it, with Moon’s plaintive vocals answered by Linden’s vibey electric guitar. The album’s closer, “Freight Train,” is a moody, late-50s-style 6/8 waltz adorned by Jim Hoke’s saxophones and Linden’s verby electric guitars.

Meredith Moon started writing songs at the age of eight. Growing up immersed in folk music, including the music of her father, Gordon Lightfoot, she became a self-taught guitar player by the age of fourteen. A few years later, she found her sound as a busker on sidewalks from Halifax to Vancouver. She spent years traveling across Canada and the world by road and rail, finding inspiration for her unique style of songs, which are crafted in a true storyteller’s fashion.

Meredith has been described as a ‘gem’ in both the old-time and contemporary folk music scenes for her unusual expression of the genres, combining influences of folk-punk with traditional Appalachian sounds. Besides playing traditional tunes often ‘non-traditionally,’ Meredith presents a powerful voice and a highly contemporary clawhammer banjo style, which has earned her acclaim in the international roots music community. She is a multi-instrumentalist, incorporating fingerstyle/Travis picking guitar, piano, and lap dulcimer, among other instruments, into her performances.