Album Review: Hummingbird, Go! by Theresa Andersson

Multi-tasker makes goodTheresa Andersson has a throwback career trajectory—one that’s actually allowed her to mature in a nurturing local-music scene. Since arriving in New Orleans in 1990 via Sweden, Theresa Andersson has evolved from almost literally playing second fiddle for Anders Osborne, to sit-ins with Crescent City staples The Radiators, to a handful of genre-dabbling albums featuring various backup-band lineups. During those years, she was the local who everybody in New Orleans wanted to get excited about.

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Stylistically, Theresa Andersson has not been easy to pin down as a recording artist. Although the Swedish vocalist/New Orleans transplant has recorded some torchy, jazz-influenced material, some people have described her as a roots rock/Americana/country-rock type of artist and compared her to folks like Mary Chapin Carpenter, Patty Loveless, Nanci Griffith, and Victoria Williams -- and, to be sure, those have been valid comparisons at times. Listeners who have had a hard time categorizing Andersson will find that she isn't any easier to categorize on Hummingbird, Go!, which finds her taking a somewhat psychedelic turn.

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Theresa Andersson may be Swedish, but she lives in New Orleans. That geographical and cultural span actually sums up Andersson’s music fairly well; its melding of the kind of impeccably managed pop one tends to think of in reference to Sweden and something rougher and more handmade. Andersson recorded the album in her kitchen, playing almost all of the instruments herself (and writing all of the music, although Jennifer Faust and producer Tobias Fröberg provide the lyrics), and much to their credit, Hummingbird, Go! only sounds like the kind of small, intimate record that implies when Andersson and company want it to.

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