Sarah Jarosz (from the album Polaroid Lovers

Sarah Jarosz (from the album Polaroid Lovers

Sarah Jarosz (from the album Polaroid Lovers available on Rounder Records) (by Lee Zimmerman)
 
There are times when an artist’s initial claim to fame is based solely on age, especially when they’re described as prodigies early on. Such was the case with Sarah Jarosz, given the fact that she was signed to Sugar Hill Records at age 16, and released her highly acclaimed initial album, Song Up in Her Head shortly thereafter. Then, after one of its songs, “Mansinneedof”, was nominated for a Grammy for Best Country Performance, it became clear that her age ought not even be considered.
 
That was evident once again with the success of her second studio album, Follow Me Down. One of its songs, "Come Around”, garnered a nomination for Song of the Year honors from the Americana Music Association. The accolades then continued with the release of her third effort, Build Me Up from Bones, courtesy of two Grammy nominations — one for Best Folk Album and another for Best American Roots Song bestowed on the title track. Then, with Undercurrent, the album that followed that, she managed to take home two Grammys, one for Best Folk Album, and the other for Best American Roots Performance given the track titled “House of Mercy”.
 
She was a mere 25 at the time, but her success story was just beginning. The 2020 release of World on the Ground, her first offering in four years, found her winning streak continuing unabated with another Grammy added to her mantle place, this time for Best American Album.
 
Clearly then, she’s set herself a very high bar, one that makes the arrival of her new record, Polaroid Lovers, all the more auspicious and highly anticipated as well. It makes a formidable initial impression with the lead track, “Jealous Moon”, a song driven by its forthright frenzy. So, too, “Runaway Train” remains true to its title due to its own determined delivery. The persistent pulse that carries “Take the High Road” takes its own sweeping stance, minus that emphatic energy.
 
Other than those few exceptions, the album pursues a more reflective motif, whether it’s the quiet, calming caress of “Mezcal and Line” and “Don’t Break Down on Me”, the slow saunter of “When the Lights Go Out”, or simply the lazy, somewhat lethargic pacing given “Days Can Turn Around” and “Dying Ember.”
 
“I’ve been told that you don’t know what you’ve got ‘til it’s gone,” Jarosz coos contentedly on “Columbus and 89th”, one of several songs cowritten with producer Daniel Tashian. 
 
‘That you’ll recognize the real thing when it comes along…’
 
It might not be the most original sentiment — just ask Joni Mitchell — and yet it still rings true. One other thing is certain as well. The recognition Jarosz’s received has never been more deserved. (by Lee Zimmerman)
 
Listen and buy the music of Sarah Jarosz from AMAZON
For more information, please visit the Sarah Jarosz website