Adam Burrows

Adam Burrows, a kind faced man in a button down, takes the stage, and with little introduction begins frantically picking his guitar and singing a song about how the best part of the day is drinking coffee in the morning with the person you’re in love with.

I am instantly hooked.

“You all are so attentive,” Burrows says, “I’m used to just singing to myself in the corner.

It’s easy to see how this could happen in a crowded bar, since his songs feature heavy finger picking melodies and folk style lyrics. Every song is a story, which he tells beautifully and poetically. His music makes you feel like buying a house in a quiet town with someone you love, which is what his song “I Wish I Would Have Moved Here When I Was Younger” is about. By his third song, “House That’s Not Right in the Head,” which is based on a Dylan Thomas poem, I am completely in love with his music. By the end of the set, during which he plays “Right as Rain” and “Tall Tale Tuesdays,” I am wondering if I am possibly in love with the man himself. - WSOE 89.3 FM

One word you don not hear quite as much outside of Nashville is songcraft. And when you do it usually predicates those mainstays in the singer/songwriter genre like Prine, Simon, and, depending on the decade, Dylan. But thanks to a movement that any of today's twenty and thirty-something Nashvillians will tell you is alive and well just east of the Cumberland, we are becoming reacquainted with this type of writing--and we like it. Burrows is just one of those newer artists who is helping this musical approach to reemerge among Nashville's indie crowd, along with Americana, Southern Rock, and just plain ol' Country (the kind that drinks PBR, not the kind that wears straw hats).

While it is not uncommon for a Nashville artist to have attended many a seminar on the art of songwriting, a real sense of story is not common enough in local writer's nights. And often when one does find it, it can be just a little too cute--a little hackneyed. In Borrows' music, however, you will find the genre in good form, offering you a narrative, a purpose, and also a melancholy that, while palpable, seems to emanate from a place that you can't quite pinpoint. What you'll also find in his songs is a thoughtfulness, an attention to structure, that separates his turn of phrase from the many singer/songwriters who, while they may have the vocal chops, lack the sense of metaphor that leaves you with the impression that you've heard anything of more substance than a loosely worded journal entry. (Hence the craft.) Apart from the heavy-hitting writers of the nineteen-seventies, you will no doubt be reminded of a few of the prominent artists from the last few decades who have made the effort to return to music. Of these, the Counting Crows might come to mind. Still, this is a one-man show. The guitar work is thoroughly competent--fluid even. The vocal is plaintiff without being overly emotional, strained just enough to make its case, which is a good sign, since any message worth saying out loud is worth the concern of the one saying it. - Ear To The Rail

The sound of Nashville singer/songwriter/guitarist Adam Burrows reminds me of the jangly, easily funky vibe of an eclectic summer folk festival. Never One For Silence boasts seven unpretentiously cool songs rich with lyrical images and clean, crisp musicianship.

The tracks are framed around Burrow’s acoustic playing and sincere vocals. “Coffee in the Morning” is a bouncy, delightful love song – Dan Webb’s swooping bass on the low end and Steve Neubert’s mandolin plucking are particularly charming.

Butch Simmon’s percussion and the wordless backing vocals give Had To Get Lost To Find My Way; a Rusted Root-style groove. Trippy swirls of electric guitar and the singalong refrain are nice ethereal touches.

Ballad of Walter Williams is jazzy, wrenching, and beautiful. Jeff Lisenby offers flourishes of piano, and Burrows’ lyric creates characters worth caring about. It is a couple’s touching tale – a man loses his adored wife to cancer, but he’s “gonna be OK.”

So if you’re like me, you’re choked up after that one. Then comes the rocking “Prison Break.” Burrows’ vocal is urging and optimistic, and the musicians fire on all cylinders around him.

House That'sNot Right in the Head has a gypsy flair. It is a minor-key number in which Lisenby’s accordion dances with Neubert’s trilled mandolin – powerful chorus, too. And the closing number, “Right As Rain,” is a fitting conclusion – just Burrows’ longing vocal, a single guitar, and a muted low synth string effect.

The back cover of Never One For Silence shows a single stool, single microphone, and single guitar. Adam Burrows could certainly spin these tales in a solo setting, and better still he has found sympathetic musicians to make his music even richer. - Chip Withrow, Muse's Muse

Adam is from Nashville, but don’t expect a weepy fiddle or earnest lyrics about trucks and honky tonks. He’s a got a pleasing conversational style on this EP of hopeful songs; the kind of guy you’d like to have a beer with before he gets up on stage in some small coffeehouse. There’s a little John Prine in his storytelling and an honest voice like a less-bitter Steve Earle. His promo material compares him to Patty Griffin, but he does not have her mastery of metaphor. He is young, though, so we can hope he will head in that direction.
There are some great images in his songs, strung together with a solid band featuring his vocals and acoustic guitar plus others on bass, percussion, Dobro, mandolin and more. He does play with words, though, like a country writer, like the title (and reoccurring line in) Had to Get Lost to Find My Way. Prison Break is about breaking through our patterns, not about guys in striped clothes. I’m not sure I know what "House That’s Not Right in the Head is about, but I like the Spanish percussion and guitar accents with an accordion that fills it all in nicely. Standout cut is the last one, Right As Rain, a sparse arrangement that features some pretty finger picked guitar and a bowed bass. I wish there were lyrics on his website or on the disc because I missed some of the words. I might have to go back for another listen. Maybe you will too
- Indie Music

Adam Burrows is one of the best lyricists in this town, which is saying a lot in Music City, USA. I have lost count of the number of times I have featured him on my radio show and I’m itching to spin more of his records. He has played our showcases and left audience members and fellow musicians alike in awe. This guy is the real deal. - Wells Adams, WRLT Lightning 100 Radio

Description: Adam Burrows' vocal inflections, lyrics, and instrumental orchestrations remind me of Paul Simon's masterpiece, Hearts and Bones. Similarities include Burrow's deft acoustic guitar work and quirky subject matter. If you love Paul Simon, chances are you'll also enjoy Burrows' work. - Steven Stone, Audiophile

I think Just Another Adam is a near-perfect folk song...The poeticism in this song is on a level that's far above 90% of the singer/songwriters getting heavy radio rotation, and his lyrical talent really makes you wish there was more material to be had. - Adam Cowden, Nashville Noobsauce

Adam Burrows is a singer/songwriter from Nashville, Tennessee. His latest release entitled Tall Tales released in 2011.This is his second release to date.

The CD takes flight with Just Another Adam an earthy intro piece that serves up steady rock rhythm, well placed acoustic guitar against hooky vocal melody from Burrows that peaks and valleys its way through to emotional fruition. Track 2 Follow Her Around keeps things moving in the right direction with driving acoustical guitar rhythm guitar against Americana guitar ambience, hooky chorus and impressive guitar licks. This piece is quite impressive with its demonstrating impressive writing virtuoso from Burrows. Track 3 delivers a catchy, yet folksy groove that delivers impressive vocal harmonies, impressive rhythm guitar against heartfelt vocal delivery from Burrows. As this CD slowly unfolds I can hear many different musical soundscapes reminiscent of such classic acts such as Counting Crows, Rob Thomas, and maybe a splash of Plain White T’s. The music itself is an impressive blend of acoustic-alternative with folksy-type elements, yet delivered with a singer-songwriter’s grace. The musicianship of everyone involved is clearly above the bar. Along the way you will notice lush instrumentation with things like lush vocal harmonies, impressive Americana Blues guitar chops, fiddles, solid acoustic rhythm guitar, Banjo, Clarinet, Trumpet, Cello, and Piano. Turning our attention squarely on Burrows – he’s an impressive voice reminiscent of Paul Simon, Rob Thomas and even Ed Kowalczyk (Live). I might add Burrows takes several vocal risks throughout the CD indicating to me a song and confident vocal ability. The songwriting is rock solid as provides a lot of musical variety despite the subtle conservativeness. I can honestly say I was entertained the entire time, with never a dull moment to be found. From compelling “San Diego Sally” to dynamic “Camden” to heartfelt “Me & Olivia” to melodic Tall Tale Tuesday” this CD has something for just about everyone. The CD ends with Alone the perfect finale piece waving you end for a smooth landing.

It’s hard to find any noticeable weakness with this CD. I give up!

From start to finish Tall Tales from Adam Burrows is a world class musical presentation. It’s one of the best earthy catalogues I;ve heard in a while. The music is very consistent, well-crafted and extremely entertaining. Note for note, song for song there isn’t really weak piece on this entire catalogue. The production strokes: writing and playing abilities of Adam Burrows are brilliant strokes upon the canvass. The melodies and songwriting are very conservative in nature yet masterfully crafted. True talent can be displayed in the most bare bones of musical settings. Having said this let me go on record and say Adam Burrows is the genuine article and can entertain with nothing more than a voice, an acoustic guitar and his world songwriting. He is clearly a marquee talent worthy of the spotlight your full undivided attention and praise. The lyrical content is packed to the hilt with rich conventional wisdom, and the vocal presence of Burrows just brings the whole thing together. - Cyrus Rhodes, The Muse's Muse

I like pleasant surprises and I like Adam Burrows. The latter fact I didn't know until this week when I received his EP - Never One For Silence. Adam accomplishes more with these seven songs than most artists can manage on a fourteen track album. From the first listen, these tunes come aross like familiar old favorites.

As for the pleasant surprise, I really had no expectations when I opened the CD package that arrived in the mail. If anything, the apparently home constructed jewel casing and liner notes didn't cause me to have high hopes. Plus, I hadn't had a chance to do any homework on this guy prior to hearing his EP. When I popped it into the player, my intention was to skim through it quickly and then come back later for a proper listen. As it turned out, I listened to Never One For Silence straight through. Twice. Adam Burrows had me by the collar from the first track.

This twenty-something Ohio native had come to Nashville, like so many others, looking to pursue his passion for music. Evidently, he plays around town on a regular basis and, along the way, recorded this, his debut EP. I have to assume that the right people just haven't heard him yet, or maybe our music industry has slipped to such depths of mediocrity that there's no place for the Adam Burrowses of the world. The fact is, this guy is the genuine article. There are shades of Paul Simon in his easy flowing delivery. Lyrically, he has the story telling prowess of a John Prine or Robert Earl Keen. These are merely similarities, mind you, because Adam has a distinct style of his own that prevails throughout his work, particularly in his often unique phrasing.

As the songs marched by, I was impressed by Adam's knack for turning a phrase. At times, he demonstrates the uncanny ability to wax poetic while simultaneously sounding conversational. Despite the comparisons that might be made with more well known artists, some of whom have probably influenced him, Adam's work stands on its own feet. I'd go so far as to say he holds his own against any of the best contemporary folk troubadors you might mention. I'm not typically one for going gushy and I'm not saying that Adam is the best I've ever heard. I am saying that I have nothing negative to report. If you're familiar with my reviews, you know I do not hesitate to shine a light on the weaknesses of even those artists I admire. Maybe they should have shaved their albums down to the best seven tracks or maybe they should pen a lyric like, you've never known nothing like a thunderstorm kiss/You feel the ground beneath you moving from the lightning on your lips.

The Ballad of Walter Williams may cause you get misty eyed. Had To Get Lost To Find My Way may cause you to nod in knowing agreement. Coffee In The Morning may cause you to smile. Right As Rain if you're like me, may cause you to hit the repeat button. Twice. That particular song is my favorite on the disc. Part of me wished it were longer than three minutes, but the other part of me knew that he'd said all that was required. That's one of the things I like about Adam's songs. They are only as long as they need to be, whether that's three minutes or five. He tells the story then he stops. The arrangements on these tunes are much the same. The accompaniments are tasteful and, most often, understated tools to accentuate these lyrically driven numbers.

If I did that annoying little star thing, I'd give Adam Burrows a four or four and a half. Then I'd think that maybe I should have just given him all five stars. But I don't do that star thing. I simply tell you what I think about the music. If I'm lucky, I get to tell you about really cool music that you might not have heard before. Then maybe you'd get the CD and have a listen and then feel lucky, too. Never One For Silence is one of those lucky times. I'll be listening to it long after this review is forgotten. - Randy Baker, The East Bank

I just love the way this record starts with the sounding of a bell, kind of like it's ushering in a new era of music. I might not have known who Adam Burrows was 11 cuts ago, but now I'm longing for everything this guy has done and will do. It's cliche and over-written when a new songwriter is hailed as the new Dylan, but then you're the best thing I might have heard since an early Springsteen, you have much to live up to, at least in my head.
Only Time will tell where Burrows will end up in the grand scheme of things in the music world, but right now he owns all the airtime on my player and iPod. Tall Tales is that good and I'm not telling any Tall Tales here. 10/10 - Mojo Len, Skunk Magazine Volume 8, Issue 2, pg 98

Adam Burrows has a great folk song in Just Another Adam, and stands out amongst the throng of folksy singer-songwriters calling Nashville home with a lyrical bent and poetic wit that, in my opinion, rivals the very best. - Adam Cowden, Nashville Noobsauce

08 Right - Adam Burrows (from the E.P. Forward) - Adam Burrows gets a little more than a quick lunch as he heads down a city street and spots a lovers car in a compromising parking lot. The song is the long version of decisions that all take place in an instant. Being “Right” is not really the goal, what we tolerate always trumps taking the correct steps. - The Alternate Root - Danny