Shannon Shaw: Shannon in Nashville review – Power, nuance and character

The seasoned pop literati will get the reference, a clever doff of the hat to the classic Dusty in Memphis. Big shoes to fill for a longtime bassist/singer with a quirky American west coast band (Shannon and the Clams), now taking her first solo steps.

But big is the name of the game here. Shannon Shaw has a big voice and a big personality, and this is a wide-screen production packed with big, dramatic, hugely enjoyable songs that pay homage to white 1960s soul/pop.

Some such as Cryin’ My Eyes Out are irresistible retro confections. Others, such as the opening Golden Frames are slow-burning belters. Almost all 13 tracks sizzle with intensity, catchy choruses and a keen sense of the era.

While references abound, they all melt happily into the mix. The Black Keys' Dan Auerbach is the man behind the wheel; he wrote or cowrote many of the songs, recreated the 1960s arrangements, produced the record and generally set the stage for Shannon.

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But she grabs the mike, makes it her own, and in the process reveals herself to be a gifted singer of power, nuance and character.