Salina Solomon releases the instantly memorable “20/20”
Salina Solomon is certainly not your run-of-the-mill Nashville pop artist.
I suppose the best way to describe her music would be to describe my interactions I’ve had with her. We first connected early last year when I was doing market research in Nashville for the space that would become True Music Room and Bar. She and a friend graciously took the time not only to meet with me but indulge my craving for Cookout and educate me on the ins-and-outs of the Broadway scene in Nashville. More recently, we reconnected the week of the grand opening of True, and we talked candidly about our career goals.
Why do I bring this up? Salina in conversation is basically the same as she is as a musician. She isn’t about trying to craft a persona. She wants to be genuine and connect with her fans first and foremost. The 20/20 EP is as straightforward and to the point as she is. Memorable hooks abound. And she adds her own spin on songs that can be an acquired taste.
Case in point, enter “New York,” the EP closer. I’m going to be honest—the first time I heard this I wasn’t sure if I liked it, but granted this was after I searched for Youtube videos of her performances. I told her in person, with some trepidation, that I wasn’t sure if I liked the song when I first heard it. Unfazed, she replied “I know why you felt that. Because it’s annoying. I was annoyed when I wrote it.” Yet, hearing the song fleshed out with some crunchy guitar and an assertive rhythm section made it my favorite of the five songs. Perhaps the same will happen to you.
I’m not going to spend time fleshing out each and every of the five songs, but know that they are diverse, personal, and fun. “Let Go” is the best candidate for a pop hit on the record. “Nightmare” is a song we blogged about previously that doesn’t take itself too seriously and also could become a crowd favorite at shows. “Burn Out” is an earnest piano ballad—obligatory for a pop EP, and “I Hate It” is angry and fun at the same time. Anger in a song is often cathartic, and in a live setting it can often leave the performer and audience alike with a grin on their face.
Salina Solomon flirts with a lot of different sounds on this EP but chooses authenticity over image. This should serve her well in the long run. I hope to see more full band performances, as the songs express their character best in that format.