Weyes Blood – Front Row Seat To Earth

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Does Weyes Blood have the best voice in indie music today?

Californian singer-songwriter Natalie Mering – aka Weyes Blood – has a voice that’s equally beautiful and commanding. It’s rarely delicate, but never overly powerful either. It kind of reminds you of the great folk artists of the ‘70s, it’s vaguely familiar, but there’s something unique about it too.

It’s hard to put your finger on why, but it’s just so captivating. On her third album as Weyes Blood, it will no doubt lure many more ears

It soars above the twinkling arpeggios of opening track ‘Diary’. It soars over the restrained fanfare the horns of ‘Used To Be’ brings.

It is the finest part of the very ‘60s psych-folk aping ‘Be Free’ and somehow makes the millennial catchcry of YOLO sound far more pleasant on ‘Generation Why’.


It’s perhaps most notable on ‘Can’t Go Home’, a choral song that beautifully blends the worlds of classical and indie music.

Rest assured, her music is brilliant too.

On the slightly epic ‘Do You Need Me Love’, Mering veers a little further into classic pop territory and it feels like a bit of a jolt – albeit a pleasant one – after the artier songs that precede it.

The guitar on ‘Generation Why’ sounds like The Dream Academy’s ‘Life In A Northern Town’ (that’s a compliment) and the pastiche of ‘Front Row Seat’ is a perfectly warped end to the record.


‘Seven Words’ is one of the great songs of this year. The slide guitar, the gently droning organ and that perky bassline all provide a perfect foundation for Mering to deliver a complex but charming melody.

Weyes Blood has created an intricate and beautiful record with Front Row Seat To Earth. But her voice is such a gift that she could just mute the rest of the tracks and we’d still be head over heels.