Hannah Epperson

Jazz Folk
© Anja Feer
© Anja Feer

You can experience them at every single one of the American singer-songwriter’s concerts: those small, special moments when she – with violin, voice and loop pedal – becomes entangled in her own, very personal worlds. All her songs exist in two versions: in a reduced acoustic form, which she calls “Iris”, and in an indie-pop idiom, called “Amalia”. The first two albums of the cycle with this concept – which is at times reminiscent of Björk and at times meanders into the neo-classical realm – were released in 2016 and 2018. Epperson’s lyrics blend the real and the surreal, the finite and the infinite, although she can sometimes also be very explicit. She seeks to destroy the pervasive cliché of what it is to be a “good” woman, to plumb the depths of the human psyche and to highlight social injustices – always with such a suggestive timbre and tantalising violin playing that she casts a spell on the audience with the very first note.