Hilary Scott

This is a big week for Hilary Scott, who released her new album, Freight Train Love, on Tuesday.

Wait a minute -- we know you're thinking. That's Hilary with one L. Though there will no doubt be some confusion with Hillary Scott from Lady Antebellum, the rising performer tells Billboard hat she has an emotional tie to the name.

"I chose my performance name back in 1999 or 2000 when my brother passed away. His name was Scott. That was before I recorded my first album. By the time I started hearing about Hillary Scott from Lady Antebellum, I had already had a couple of albums out under that name and had a website going. It was a tough call for me because the name means something to me both professionally and personally. At this point, I think it would be very difficult to completely change," she says, admitting that she isn't for sure what the future will hold for her in that regard. "I do fear that if I gain some more publicity, it could become more confusing."

CMA Awards 2014: And the Winners Are…

Stylistically, Scott does set herself apart with more of a bluesy lean, thanks to influences such as Bonnie Raitt and Patty Griffin. What does she call her music? "At this point, I've been calling it Americana, because I feel like it's such a big umbrella," she said. "It didn't used to be. I feel it used to be a little bit narrowly focused on music that wasn't quite country but had that flavor. I think some of my stuff has it, but there's all kinds of influences in there. That's one of my favorite things about this record. You can put it under the Americana umbrella, I think, but I think that a lot of different genres are reflected song by song on the record."

One of the highlights from the album is the evocative "Whiskey Bottle Dry," which Scott says marks a departure for her as a writer. "That has become my favorite on the record. I co-wrote that one with Michael O'Neill. We wrote it as a dark look at relationships. One of the things that Patty Griffin does that I have tried to challenge myself more to do, is write from a perspective that might not be that comfortable to me. That song has a certain masculinity to it where I'm the one drinking. A lot of times, we're not comfortable with the woman being the one falling on hard times. I'm comfortable doing that, but I think for listeners, it's new. I am overtaken by the emotion of the song."

Writing from a second-person prerogative is something the singer-songwriter has taken some time to warm up to. "That is somewhat of a more recent development because I used to be pretty autobiographical," she says. "That has changed over the past few years. I used to write a lot of prose and poetry, but I wasn't allowing myself to put that in my songwriting. If it is a more fictional song, I feel like now I'm able to get out of my own way, and focus on the craft and art of songwriting more."

The Washington state native gave one song the cover treatment on her disc: Nicolette Larson's 1978 hit "Lotta Love," though she gave it a slightly different sound. "I had heard the Nicolette Larson song many times, and remembered it very well. I had never really listened to many versions of it -- including the Neil Young version -- because I usually try to ask myself what the song is telling me. I just thought it was more soulful. It had more of a soulful/Stax feel on it, and we got to work with Bob Glaub on it, who played on the original. So that was really neat."

Scott's voice can also be heard on a YouTube video to raise awareness for animal rescues, something she is quite passionate about. "It was an amazing series of coincidences. Actually, my mother was on Facebook, and that video came up on on her feed. She was listening to it, and she wasn't believing what she was hearing, because it was my voice. She posted on Facebook and asked me if I knew the song had about a million views. One of my friends found Annie Hart, he creator of the video, I got a hold of her. I told her I loved dogs, and was a big advocate for animal rescue – especially pit bulls, which I think are misunderstood, and wanted to be part of it. We'll probably work on some projects together in the future to continue help animals, which is very exciting to me." - Billboard

Living the dream. At times you mention it with satire, but when you can own it and truly believe that phrase. it's euphoria. We should be so lucky to know Hilary Scott, the one with one “L”, and hear her beautiful, newly released album Freight Train Love. She is indeed living the dream, which is getting ready to go farther than she ever imagined. Every town, it seems, has a favorite local performing artist. I didn’t know about this St. Louis-based singer-songwriter who has recorded ten other albums over the last dozen years, until a copy of her album from KG Music Press showed up in my mailbox. It sat until last week on a cold, rainy afternoon I decided to pop the disc into my car’s CD changer for the commute home and it was as if the clouds parted for a ray of sunshine.

Originally from Washington State, Hilary has taken a long and winding road since her brother Scott died of complications due to epilepsy in 1998. She adopted his first name as part of her stage name so that his spirit would be with her on this musical journey. She has forged ahead as a hard-working indie artist, garnering a loyal fan base with non-stop touring around the world. The sacrifices she made have more than paid dividends with the positive and inspirational feedback she receives from town to town. A successful IndieGoGo campaign earlier this year was the foundation to hopefully take her career to the next level.

The Belltown Records artist put all her chips on the table when she headed to Los Angeles to record at Ultratone Studios with owner Johnny Lee Schell providing the engineering and mixing. Acclaimed songwriter Michael O’Neill not only produced the new record, but he drew from his rolodex of players like Bob Glaub (bass), Tony Braunagal (drums), and Mike Finnigan (keyboards) to accompany Hilary in the studio. Schell laid down some beautiful guitar work throughout the album and Hilary’s longtime collaborator A J Gennaro offered additional percussion. The main ingredient is, of course, Hilary Scott and her passionate, sweet, sultry vocals that bleed throughout the record.

An album has to grab the listener and draw them in, and Hilary opens Freight Train Love with the relationship-focused title track that has her gorgeous vocals layered with Finnegan’s beautiful Hammond B3 and backing vocals from Julie Delgado. Three songs were brought over from her vinyl-only 2013 EP release Flowers on Mars, which garnered the 2014 Americana/Folk Album of the Year from the National Traditional Country Music Association. She re-recorded the catchy radio single “Help”, the Laurel Canyon-flavored “Get Your Love” with some classic old school guitar riffs from Schell, and the toe-tapping “Flowers on Mars,” which could connect with a larger audience.

Scott penned most of the music and a portion of the words to the title track, along with most of the words to the lovely ballad “Diamonds,” and finished them with help from O’Neill. Their partnership cranked out two great songs during the recording sessions. One is the storytelling “Whiskey Bottle Dry,” which is full of drinking, love, and heartache. The other is the closing country rocker “Didn’t Make It Alive.” O’Neill dialed up his friend Kevin Fisher, another established songwriter, to include his nice little pop number “If You Don’t Love Me,” as a duet with Scott. Fisher let the starlet shine with her take on his torch song “Losing You,” which she describes it as “the best heartbreak song I’ve just about ever heard.” She gave a soulful, bluesy interpretation to the classic Neil Young song “Lotta Love” (Glaub played bass on the Nicolette Larson crossover hit single version back in 1978).

Hilary Scott left Los Angeles with a fantastic record of ten solid tracks and now begins the hard work of fostering new fans and awareness with the street release of Freight Train Love. Sometimes you can attribute it to a little luck and fate that the music falls into the right hands at the right time. From everything I’ve heard, there might be a few more awards for the girl with one “L” before the year ends; including mine. - No Depression

If there is such a thing as creative country pop then this is it from an underrated singer songwriter who, after being in the business for fifteen years now has to contend with a near namesake in the platinum selling arrivistes Lady Antebellum playing much the same style of music. I’ve just one ‘L’ says this defiant Miss and you have to sympathise with her more especially as the music on this album is much better than any of Lady A’s recent output. A trifle ironic anyway in that Hilary had changed her family name of Helm to her brother’s name when starting her music career.

Blessed with a powerful voice and equally at home on guitar, keyboards or violin Hilary is a talented lady and she writes good songs too, seven of the ten on this album are from her pen including the title track which starts things off. Freight Train Love has a yearning, soulful R & B feel to it the timeless theme of not being ready to let someone else into your life but unable to do anything about it.

The emotional Losing You written by Kevin Fisher is one of those songs that could be dedicated to anyone and who knows maybe Hilary had someone in mind in giving a very powerful performance on this track. Flowers On Mars is from a previous EP of Hilary’s and is as good an expression of disillusionment with the world and its ways as you will get. So good in fact that the song won recent Americana and Roots Music awards.

There are a couple of songs early on that really do not add much to the overall product Help and Get Your Love are fairly average country ballads. Hilary really comes alive on the duet with Nashville songwriter Kevin Fisher on Fisher’s If You Don’t Love Me. This track is good enough to be listed in the Musical Collaboration category at the CMA’s. Also very good is Hilary’s cover of Neil Young’s Lotta Love which comes up as the penultimate track here. The final track Don’t Make It Alive is an expressive message to someone not particularly welcome.

Funded by her fans this album was recorded in the studios of Johnny Lee Schell in Los Angeles and released through Hilary’s long time label Belltown in Seattle. There is clearly a lot riding on this album and it deserves a wide audience. - Maverick Magazine

Hilary Scott is no stranger to making music. Already a seasoned musician, Scott is releasing her 9th album, a fantastic EP by the name of Still. Blending a bit of alt-country, singer-songwriter, pop, blues, and a slight tinge of folk, Hilary Scott and The New County Line, is ready to win over your heart, and your eardrums. Are you ready to give this collection of songs a listen? Scott has already shared the stages with the likes of Tanya Tucker, Little Feat and Beth Orton, a great accomplishment and honor.

Starting off the album is “Untitled,” a perfect introduction to Hilary Scott and The New County Line. Starting with Scott and a blissfully played piano, it’s reminiscent of a female Ryan Adams. Every note and vocal tone seems carefully chosen as to not stray away from the track. Scott’s voice may be a tiny bit soft, but she carries it well by showing an exquisite range and poise.

Heading into “Labor of Love,” the record starts to take on a jaunty tone, which is a nice segway for the other songs on the album. Scott’s voice is infectious and to put it no other way, it is simply gorgeous. “The labor of life is not the labor of love,” she sings right before slight bells chime in behind her, also accompanied by a noticeable organ.

“Fighting Odds (Take What You Get),” is up next, and a nice treat. The softly picked guitar enters the song as Scott’s voice creeps in slowly and quietly. Her voice gains in vocal range, loudness and tone as the drums start to make their way into the track. The elements come together to create a beautiful piece of work that will have the listener urgently awaiting what the rest of the EP sounds like.

“Hallelujah,” is a surprising track to appear on the album. At first listen, you wouldn’t even think it was a cover of the classic Leonard Cohen song that was also beautifully done by the late Jeff Buckley. There have been a lot of artists that have tried to cover this song in the past, and have either done it poorly or it has gone completely unremarkable. Hilary Scott and The County Line do the most stunning cover since Jeff Buckley covered the tune on 1994’s Grace. That my friends, is possibly one of the biggest compliments that one can get as a musician. Scott’s voice is flawless, smooth, sleek and seductive as the carefully strummed guitar and melodic piano fills the space around her.

As all must things come to an end, the final and title track, “Still,” closes out the album. Coming in with a soft strummed and plucked guitar and Scott’s harmonious voice, will send chills down your spine. The haunting song is then filled in with a piano for a greater part of the song. Midway the keys become a bit heavier, as does Hilary Scott’s voice. Drums make their entrance into the mix, and Hilary Scott and The New County Line really start to take it away. Be prepared to hit the repeat button on your player already.

Hilary Scott and The County Line’s Still, is a standout album of the year. This is the making of a classic. A stunning record that knows no boundaries and is the perfect listen on an Autumn day…or any day for that matter. Do yourself a favor and seek out more of Hilary Scott and The County Line. You will not be disappointed. You can quote me on that.

Review by Melissa Nastasi
Rating: 5 Stars (out of 5)

- Review You - Melissa Nastasi

Hilary Scott’s new EP Still (2011, Belltown Records) is a well-played, durable sampler of original music (punctuated with a somber cover of Leonard Cohen’s rapturous “Hallelujah”) from an established and talented artist with an impressive arsenal of natural abilities. Though clocking in at only five tracks, Still doesn’t feel like a short-winded collection of songs meant to simply tide over fans between records given the general strength of the output, and instead is a stand alone outing replete with much to offer on its own.

Still is Scott’s ninth album (eighth studio effort) over a now lengthy career. The band assembled for the record is on top of it, and alongside Scott’s formidable instrumental range (she plays acoustic guitar, piano, and organ in addition to helming the vocal duties), AJ Gennaro’s drum and percussion work lays an expressive-yet-not-overpowering rhythmic framework over which Josh Shilling’s four-string work (bass and electric guitar) lays squarely in the cut, a focused accompaniment to Scott’s songcraft. The album’s arrangements are well-managed, crisp, and infused with life. Still’s peaks and valleys are palpable, and Scott and Co. are adept at the slow build, borne on the strength of Scott’s expressive and thoughtful vocal delivery.

Pinning down influences on Hilary Scott and the New County Line is both somewhat difficult as well as fairly straightforward (if you can dig it). There’s a lot percolating around in there. Take a dash of this and a little more of that as you like it: Joan Baez, Natalie Merchant, Alison Krauss, Regina Spektor, Tori Amos…if it sounds like cherry picking, that’s because it is, and with good reason, as all these artists and more make their way into Scott’s sound. Perhaps easier is to hit on some loose genres and let one’s imagination take over, so here goes: pop, country, Americana, gospel, the new Nashville sound, folk, the sound of long car-trips across the American Midwest…you get the picture. Scott’s voice is strong, and the underpinnings of her music skew towards a personalized sound-collage of various tangents of American pop and neo-Americana of the past few decades. What’s there is both fresh and familiar.

Still opens with “Untitled (So Long)”, kicked off with a slowly unwinding, simple bit of piano accompanied by Gennaro and Shilling’s smart background work that nicely underlays Scott’s floating lyrical embellishments, coalescing together slowly until finally opening up into the elated church-organ feel of the Hammond around 3:34 or so. Given the slow-build and the painstaking restraint up to this point that the listener can feel coming early on, it’s almost a shame that the Hammond is so buried in the mix here; the instrument’s classically ecstatic sound acts as a strong counterpoint to Scott’s lamenting “Gonna find you before too long…”.

“Labor of Love” picks things up a bit, moving more into Baez/Merchant territory both musically and vocally. With a forward-lean to the arrangements and a playful lilt to the lyrics, Scott attempts to sway an assumedly aloof love interest: “The labor of life is not the labor of love,” she sings in the chorus, vowing as the song ends to “…catch you, you might like being caught…”. As a side note, the handclaps listed in the liner notes make a nice entrance here, and the song features some memorable vocal manipulations vaguely reminiscent of Doris O’Riordan’s on-key Irish yodel.

“Fighting Odds (Take What You Get)” follows, with a compact moodiness nestled in the arms of the well-crafted song-structure. An exceptional song, the track is just the right blend of engaging lyrics, well-handled instruments, and arrangement dynamics. Especially of note is the shimmering guitar drifting over Scott’s chorus vocals like smoke; this track does what it needs to do, and does it well. A total package.

The album’s final original song and title track, “Still” is one of the truly stand-out numbers here. Scott’s mournful ballad to undying affection and the delicate immediacy of the present moment brings out both her personalized composure as a song-writer and the inherent strengths of her backing band. Which is a good example of the disc as a whole. Though the lyrics on Still alternate between opposing poles of clever and simplistic, “Still” is a good example how the strength of the overall project often acts to uplift a quotidian idea into something more than the sum of its parts. “Still” paints a scene of beauty and heartbreak that is magnified by the unified front of The New County Line’s perfect ensnaring of the proper mood. Good stuff.

And of course then there’s the Leonard Cohen cover. An oft-covered song by an enigma of a songwriter and a living legend, the seminal “Hallelujah” has been reworked by so many varied and amazing artists that it could (should?) be considered a songwriter’s rite of passage to try his/her hand at it. Not that that has stopped Cohen from recently wondering aloud if people shouldn - Review You - Reed Burnham

In only five songs, Hilary Scott and the New County Line, manage to do something that most artists can’t do in a full length album; deliver a completely satisfying listen that transcends categorization and genre. There’s nothing explicitly country about Hilary Scott and The New County Line on this 2011 EP, Still. If you had to define their sound it would be more akin to an indie-pop group with their largely piano driven, atmospheric pieces. Few pop songs are this lush though, and fewer still would include the use of a Hammond organ. When all the pieces are added and committed to record, the end result is something that can’t be classified but can certainly be described as amazing.

Aside from being the songwriter and vocalist for the band, Hilary Scott also plays the piano, acoustic guitar, and Hammond organ. She’s joined by drummer AJ Gennaro and multi-instrumentalist Josh Schilling, who handles the bass, electric guitar and Hammond organ as well. Scott’s voice and piano are the most dominating sounds on the EP, but by no means do they drown out the other performances. Every note that these three play has resonance and there’s not a weak note here.

“Labor Of Love” is an almost impossibly catchy song thanks to its handclaps, and percussion. The main riff of the track, shared between the piano and guitar, is intensely bouncy in a moody way but it’s at the moments where the handclaps pierce through the arrangement, that the song reaches a new level of catchiness. There are also a great couple of moments where Scott ascends on the piano, creating a magnificent build that her voice often echoes.

The one song that is not driven by the piano is the fantastic, “Fighting Odds (Take What You Get).” The piece begins with Scott’s acoustic guitar and soaring voice and leads into the main electric riff. The crisp but light drumming kicks in with the bass, both of which withhold just enough force as to not be too prominent, yet they still hold the song together. As the music progresses, the Hammond enters in to deliver a healthy dose of atmosphere but at the same time there’s a fantastic tone being delivered by Schilling’s guitar part. When combined with lyrics like, “All those years of writing your sad songs/You closed your eyes/until love was long gone/Empty silence,” the guitar sounds somber, as if reflecting upon the singer’s remorse amidst the bitterness of the whole lyric.

The band includes one cover, a version of Leonard Cohen’s, “Hallelujah.” The one quibble with the EP could be that another version of such a heavily covered song isn’t really needed, and indeed it would’ve been nice to hear the group tackle one of the many other songs from the Cohen songbook. Despite that criticism, this is really an excellent rendition, taking a similar approach to the versions done by John Cale and Rufus Wainwright, and adding The New County Line feel to it. Maybe it’s from drawing upon the lyric’s unarguable power, but the performances are particularly strong here, with Scott delivering a mesmerizing vocal and Gennaro giving it his all on the drum kit.

The remaining two songs on Still, the opening “Untitled (So Long)” and the closing title track, are similar in how they’re longer, sweeping songs, that each build up to a glorious finish. The former of the two begins with the piano and voice and ends with crashing drums, the organ at full force, and that piano pounding out the notes. The build adds an extra level to the lyric as the singer begins by stating her lack of confidence and her loneliness, yet ends with her resolve in finding someone to love. “Still” does a similar thing, though it begins with guitar and vocals and builds to an emotional guitar solo over similarly intense backing musicianship. Scott’s lyric here also shows a journey of emotional progress, but one more filled with determination throughout heartache.

Hilary Scott and The New County Line have constructed a brilliantly epic sound and it’s featured on their EP Still in fantastic fashion. Even with only having five songs, there’s a tremendous amount of musical content and it’s staggering how beautifully it all comes together. Scott’s voice is worth the price of admission alone but to hear it working with other engaging performances is incredible. Still has the ability to reach beyond musical genre, and reveal its excellence to anyone who enjoys and appreciates music.

Review by Heath Andrews
Rating: 5 Stars (out of 5)

- Review You - Heath Andrews

This is a photo album of 5 images contributed to the ezine, No Depression. - No Depression

This is a photo album of 5 images contributed to the ezine, No Depression. - No Depression

There are plenty of events and activities happening in the next three days, including a performance by the Vienna Boys Choir, other concerts (Awolnation, Archnemesis, Hilary Scott and the New County Line among others), the Reel Rock Film Tour on climbing, a Colorado Eagles game, a comedy show and more. Details on these and other events follow.

- The Coloradoan

There are plenty of events and activities happening in the next three days, including a performance by the Vienna Boys Choir, other concerts (Awolnation, Archnemesis, Hilary Scott and the New County Line among others), the Reel Rock Film Tour on climbing, a Colorado Eagles game, a comedy show and more. Details on these and other events follow.

- The Coloradoan

On the Beat: Hilary Scott and the New County Line
TRIBUNE | Posted: Thursday, November 3, 2011 12:00 am


Homebase: St. Louis, Mo.

Genre: Indie, folk, Americana

Accolades: Scott’s award-winning single “And Just” was produced by Euro Ferrari, producer of Sting and Pavarotti, who writes that Scott, “writes and sings in a way that creates a fascinating and intimate world, and it is enough for her to utilize only a whisper to raise deep emotions in the listener. Her voice is absolutely extraordinary in its emotional greatness.”

Bio: After she tapped out melodies on the piano as a toddler, Scott’s mother enrolled her in classical piano lessons at age 4. A 1994 Pullman High School graduate, Scott attended Whitman College where she majored in English and minored in music and traveled abroad to Italy where she sang opera. She broke from her classical training to craft her own brand of Americana indie folk.

The Music: Scott sings and plays piano, violin and guitar and writes her own music.

The Sound: Scott says the songs on her most recent album, “Still,” are designed to create certain moods, “it’s one of our better features,” she says of her band, “sweeping the crowd into a mood and taking them for a ride for awhile.”

Interesting Fact: This is Scott’s first time as a professional musician performing in her hometown where her mother, Carole Butkus (then Carole Helm), served as mayor. She’s toured France, Japan, Vietnam and South Korea and shared the stage with Little Feat and Beth Orton.

Gig: 7 p.m. Sunday, the Belltower, 125 S.E. Spring St., Pullman; $8 advance, $12 at door. Tickets: belltowerpullman.com. The all-ages concert also features Charlie Sutton.

- Lewiston Tribune

On the Beat: Hilary Scott and the New County Line
TRIBUNE | Posted: Thursday, November 3, 2011 12:00 am


Homebase: St. Louis, Mo.

Genre: Indie, folk, Americana

Accolades: Scott’s award-winning single “And Just” was produced by Euro Ferrari, producer of Sting and Pavarotti, who writes that Scott, “writes and sings in a way that creates a fascinating and intimate world, and it is enough for her to utilize only a whisper to raise deep emotions in the listener. Her voice is absolutely extraordinary in its emotional greatness.”

Bio: After she tapped out melodies on the piano as a toddler, Scott’s mother enrolled her in classical piano lessons at age 4. A 1994 Pullman High School graduate, Scott attended Whitman College where she majored in English and minored in music and traveled abroad to Italy where she sang opera. She broke from her classical training to craft her own brand of Americana indie folk.

The Music: Scott sings and plays piano, violin and guitar and writes her own music.

The Sound: Scott says the songs on her most recent album, “Still,” are designed to create certain moods, “it’s one of our better features,” she says of her band, “sweeping the crowd into a mood and taking them for a ride for awhile.”

Interesting Fact: This is Scott’s first time as a professional musician performing in her hometown where her mother, Carole Butkus (then Carole Helm), served as mayor. She’s toured France, Japan, Vietnam and South Korea and shared the stage with Little Feat and Beth Orton.

Gig: 7 p.m. Sunday, the Belltower, 125 S.E. Spring St., Pullman; $8 advance, $12 at door. Tickets: belltowerpullman.com. The all-ages concert also features Charlie Sutton.

- Lewiston Tribune

There are a lot of musical forces at work within Hilary Scott’s song, “And Just.” Scott’s vocals have a country edge to them with a leaning towards folk rock as well, while the percussion track has an electronica sound and the rest of the arrangement takes heavily from modern pop/rock. Amongst all the sound is a lyric that floats along both in its sound and subject matter. In short, “And Just” is an accessible yet deep song with strong cross-genre appeal.

Scott begins her piece with a chugging, rumbling guitar riff on top of deeply resonating piano chords. Her voice chimes in a few seconds later, soaring above the established tone. The song throws itself onto a new level with a brief drum fill and Scott singing, “The city’s pushing me around/It’s making me feel like something used…” Her words are backed by the addition of an acoustic rhythm guitar and punctuated by the snarl of an electric lead. As bleak as the song seems at this point, the light, electronic percussion moves at a quick pace. Voice full of passion, Scott continues to sing, “Wanting to leave for what feels like forever/Now I wanna stay because of you” and brings some hope and happiness into the lyric, but there’s obviously conflict within the character of the song.

The tension in the verses is released during the first two lines of the chorus, “One sure way, to get through the day/breathe in, breathe out, and breathe in…”. It’s a fantastic, true-to-life sentiment that fits perfectly in the context of the song. What makes the chorus that much more powerful is her breathtakingly beautiful voice. She sings with great power and emotion, but still hits each and every note with grace and finesse.

“And Just” continues to build slightly, adding a few more bursts of lead guitar, some additional drum fills, and vocal overdubs done by Scott. Noticing these additions is easier in retrospect since the song has a hypnotic quality to it. The combination of the serene vocals, darkly driving melody, and almost dance-like drum track, draws in the listener to the point where the lyrics almost fade away. The “breathe in, breath out, and breathe in” of the chorus becomes a mantra to the listener, just as much as it likely becomes one to the character in the song. Hilary Scott’s “And Just” is a masterpiece of a song with music and a message that breaks genres.

Review by Heath Andrews
Rating: 5 Stars (out of 5)

- Review You

There are a lot of musical forces at work within Hilary Scott’s song, “And Just.” Scott’s vocals have a country edge to them with a leaning towards folk rock as well, while the percussion track has an electronica sound and the rest of the arrangement takes heavily from modern pop/rock. Amongst all the sound is a lyric that floats along both in its sound and subject matter. In short, “And Just” is an accessible yet deep song with strong cross-genre appeal.

Scott begins her piece with a chugging, rumbling guitar riff on top of deeply resonating piano chords. Her voice chimes in a few seconds later, soaring above the established tone. The song throws itself onto a new level with a brief drum fill and Scott singing, “The city’s pushing me around/It’s making me feel like something used…” Her words are backed by the addition of an acoustic rhythm guitar and punctuated by the snarl of an electric lead. As bleak as the song seems at this point, the light, electronic percussion moves at a quick pace. Voice full of passion, Scott continues to sing, “Wanting to leave for what feels like forever/Now I wanna stay because of you” and brings some hope and happiness into the lyric, but there’s obviously conflict within the character of the song.

The tension in the verses is released during the first two lines of the chorus, “One sure way, to get through the day/breathe in, breathe out, and breathe in…”. It’s a fantastic, true-to-life sentiment that fits perfectly in the context of the song. What makes the chorus that much more powerful is her breathtakingly beautiful voice. She sings with great power and emotion, but still hits each and every note with grace and finesse.

“And Just” continues to build slightly, adding a few more bursts of lead guitar, some additional drum fills, and vocal overdubs done by Scott. Noticing these additions is easier in retrospect since the song has a hypnotic quality to it. The combination of the serene vocals, darkly driving melody, and almost dance-like drum track, draws in the listener to the point where the lyrics almost fade away. The “breathe in, breath out, and breathe in” of the chorus becomes a mantra to the listener, just as much as it likely becomes one to the character in the song. Hilary Scott’s “And Just” is a masterpiece of a song with music and a message that breaks genres.

Review by Heath Andrews
Rating: 5 Stars (out of 5)

- Review You

By Jill Renae Hicks

Posted April 7, 2011 at 4:40 p.m.

The thing about Hilary Scott is her voice – and, well, it should be. Her singing voice is distinctly strong without being harsh; she swoops between a mellow thrum on lower tones and a mellifluous, powerful keening. The performer has taken her songs across the ocean and recently came back with an international music award to her name. She is releasing her newest single, “And Just,” in conjunction with a performance at new local venue The Bridge on Saturday night.

Scott’s backing bands, the New County Line and the Hilary Scott Band, add some joyful upbeat to her solo act; they can turn a pop song into a rush of bright country or soul, cranking the energy out with percussive beats and moaning harmonica. But Scott’s lyrics and vocals sit nicely inside her slower ballads as well.

“And Just” is Scott’s newest single, produced by Euro Ferrari, with whom she will record the rest of her album later this year. The single is decidedly less genre-based than some of her other songwriting – it has hints of country, folk, pop, and even a tinge of electronica. “And Just” is a testament to heartbreak and survival: the chorus proclaims, “One sure way to get through the day / Breathe in, breathe out, and breathe in.” Her words bleed together just enough to invoke the emotions present in the lyrics – she slides easily between strength and sadness. The production is slightly contrived (the track uses an electronic drum kit), but it will be interesting to see how she rounds out the rest of the EP this year.

Scott moved to Missouri from the northwestern states in 2000 after beginning her performance career in 1999; her history of compilations, solo projects, touring, and songwriting is multi-faceted and rather intriguing. Her first album, “Hypothermia,” is undiluted and recorded under simple circumstances, but it manages to be lush in its nakedness. From “Hypothermia,” Scott continued on to Missouri, forming a band called LaidDownEight (now The Hilary Scott Band). She built her name by diving into Columbia’s local music scene in the mid-aughts, gaining the title of Inside Columbia’s “Best Local Musician” in 2005 and 2006. During that time, Scott contributed to a Bob Dylan tribute in 2006, produced and compiled by Wes Wingate. After that collaboration, the two moved on to make an album of duets together, 2009’s “Consonance.”

But much of Scott’s more recent career has taken off in places it would take a very long plane ride to get to. She played at a five-star Vietnam hotel for a time as a nightly act; after that, she toured in Japan. Most recently, Scott embarked on performance tours in France and Italy, and she has come back home as the winner of the best international act in Sanremo’s Festival Degli Autori – earning her a recording contract with Sanremo Productions. Fans of Scott who can trace her musical development through years of Columbia performances will be happily reintroduced to her definitive vocals as a new decade of music-making springs forth.

Hilary Scott performs with the New County Line on Saturday at The Bridge, 1020 E. Walnut. Doors are at 8 p.m. and tickets are $8.

- Columbia Tribune

By Jill Renae Hicks

Posted April 7, 2011 at 4:40 p.m.

The thing about Hilary Scott is her voice – and, well, it should be. Her singing voice is distinctly strong without being harsh; she swoops between a mellow thrum on lower tones and a mellifluous, powerful keening. The performer has taken her songs across the ocean and recently came back with an international music award to her name. She is releasing her newest single, “And Just,” in conjunction with a performance at new local venue The Bridge on Saturday night.

Scott’s backing bands, the New County Line and the Hilary Scott Band, add some joyful upbeat to her solo act; they can turn a pop song into a rush of bright country or soul, cranking the energy out with percussive beats and moaning harmonica. But Scott’s lyrics and vocals sit nicely inside her slower ballads as well.

“And Just” is Scott’s newest single, produced by Euro Ferrari, with whom she will record the rest of her album later this year. The single is decidedly less genre-based than some of her other songwriting – it has hints of country, folk, pop, and even a tinge of electronica. “And Just” is a testament to heartbreak and survival: the chorus proclaims, “One sure way to get through the day / Breathe in, breathe out, and breathe in.” Her words bleed together just enough to invoke the emotions present in the lyrics – she slides easily between strength and sadness. The production is slightly contrived (the track uses an electronic drum kit), but it will be interesting to see how she rounds out the rest of the EP this year.

Scott moved to Missouri from the northwestern states in 2000 after beginning her performance career in 1999; her history of compilations, solo projects, touring, and songwriting is multi-faceted and rather intriguing. Her first album, “Hypothermia,” is undiluted and recorded under simple circumstances, but it manages to be lush in its nakedness. From “Hypothermia,” Scott continued on to Missouri, forming a band called LaidDownEight (now The Hilary Scott Band). She built her name by diving into Columbia’s local music scene in the mid-aughts, gaining the title of Inside Columbia’s “Best Local Musician” in 2005 and 2006. During that time, Scott contributed to a Bob Dylan tribute in 2006, produced and compiled by Wes Wingate. After that collaboration, the two moved on to make an album of duets together, 2009’s “Consonance.”

But much of Scott’s more recent career has taken off in places it would take a very long plane ride to get to. She played at a five-star Vietnam hotel for a time as a nightly act; after that, she toured in Japan. Most recently, Scott embarked on performance tours in France and Italy, and she has come back home as the winner of the best international act in Sanremo’s Festival Degli Autori – earning her a recording contract with Sanremo Productions. Fans of Scott who can trace her musical development through years of Columbia performances will be happily reintroduced to her definitive vocals as a new decade of music-making springs forth.

Hilary Scott performs with the New County Line on Saturday at The Bridge, 1020 E. Walnut. Doors are at 8 p.m. and tickets are $8.

- Columbia Tribune

Quote in French newspaper, La Montagne : "... an astounding opening performance by Hilary Scott - (what a voice!!!!)" in a review of Cock Robin's performance and Hilary Scott's opener for the band at La2Deuche in Auvergne.

We do not have the review URL for this quote

- La Montagne

Quote in French newspaper, La Montagne : "... an astounding opening performance by Hilary Scott - (what a voice!!!!)" in a review of Cock Robin's performance and Hilary Scott's opener for the band at La2Deuche in Auvergne.

We do not have the review URL for this quote

- La Montagne

Note: We do not know if the original article contained a mispelling of Hilary Scott's first name, or it happened in the English translation. This was translated from Japanese by the Google translator.

"You may have heard the name of Hillary Scott? Currently, an artist singing in the Grand Hyatt Fukuoka Bar Fizz. ? Video Hillary Scott live with her ??relationship with Japan dates back to early teens. Has said of herself. "When I was a teenager, my mother is a local, he was the mayor of Pullman, Washington. Kasai Japanese mother (Hyogo) and signed a sister city relationship, because I as a delegation to the homestay student I came to Japan. In Japan, were greeted with smiles and generosity can go anywhere, I was impressed with the height of the enthusiasm of people to learn from each other's culture and lifestyle differences. When you return, host families dad, we can still remember me saying I sent out from the rest of life's second family. " Japan now has her singing with such ties with Japan. Are starting to move in order to start its activities in Japan. Her songs, Amanda Dahling of her local newspaper Zamizurian "Music is a powerful voice for Hillary, flowing guitar, characterized by a friendly gush melody. These right now, focus on the music industry music but of itself, "it. John Kulidas age WCSU radio station general manager of Chicago State University, "Hillary song but I have heavy rotation. Also a very good listener reaction. It is seen as up-and-comer. Recently, a fellow one person was saying this. "singer recently I like Carole King is not what I came out" and. So I said I did. What are you not here. " Hillary Scott, it was evaluated by local artists. In this testimony. Burns Billy had been playing the drums in the back of Ray Charles' voice is emotional Hillary, speaks. Clinton says the world "things" best thing that you have, "he said. Northeast In-Jeff Dame Tune magazine is "to Hillary, Alanis Morissette and Tori Amos, there is a big potential to become just as Sheryl Crow. If you put her to listen now" and I first I thought I, I I "and can brag about it later" and. Now, I first heard her songs. Rice felt no apprehension The music was heavy on her thoughts to music. Listen to the song! And not imposing presence to be tempted to take something that exists about it. Then, I will be taking to get there and can not help speaking. San Remo Festival in Italy, said that most of the highly acclaimed. And in 2011, with a global producer Euro Ferrari, has promised to send new music to the world."

- Barks

Note: We do not know if the original article contained a mispelling of Hilary Scott's first name, or it happened in the English translation. This was translated from Japanese by the Google translator.

"You may have heard the name of Hillary Scott? Currently, an artist singing in the Grand Hyatt Fukuoka Bar Fizz. ? Video Hillary Scott live with her ??relationship with Japan dates back to early teens. Has said of herself. "When I was a teenager, my mother is a local, he was the mayor of Pullman, Washington. Kasai Japanese mother (Hyogo) and signed a sister city relationship, because I as a delegation to the homestay student I came to Japan. In Japan, were greeted with smiles and generosity can go anywhere, I was impressed with the height of the enthusiasm of people to learn from each other's culture and lifestyle differences. When you return, host families dad, we can still remember me saying I sent out from the rest of life's second family. " Japan now has her singing with such ties with Japan. Are starting to move in order to start its activities in Japan. Her songs, Amanda Dahling of her local newspaper Zamizurian "Music is a powerful voice for Hillary, flowing guitar, characterized by a friendly gush melody. These right now, focus on the music industry music but of itself, "it. John Kulidas age WCSU radio station general manager of Chicago State University, "Hillary song but I have heavy rotation. Also a very good listener reaction. It is seen as up-and-comer. Recently, a fellow one person was saying this. "singer recently I like Carole King is not what I came out" and. So I said I did. What are you not here. " Hillary Scott, it was evaluated by local artists. In this testimony. Burns Billy had been playing the drums in the back of Ray Charles' voice is emotional Hillary, speaks. Clinton says the world "things" best thing that you have, "he said. Northeast In-Jeff Dame Tune magazine is "to Hillary, Alanis Morissette and Tori Amos, there is a big potential to become just as Sheryl Crow. If you put her to listen now" and I first I thought I, I I "and can brag about it later" and. Now, I first heard her songs. Rice felt no apprehension The music was heavy on her thoughts to music. Listen to the song! And not imposing presence to be tempted to take something that exists about it. Then, I will be taking to get there and can not help speaking. San Remo Festival in Italy, said that most of the highly acclaimed. And in 2011, with a global producer Euro Ferrari, has promised to send new music to the world."

- Barks

Hilary Scott lives ‘la bella vita’ with festival win, album deal
By Lynn Israel
Sunday, July 4, 2010
Hilary Scott, who will join her namesake band, along with the Kansas City Street Band and the Hickman High School Choir, as part of the entertainment at 6:30 p.m. today at “Fire in the Sky” at Memorial Stadium, is well-known to music fans in Mid-Missouri as well as Korea, Vietnam and the Northwest. Now the Italians are taking note.
She was named a winner at Festival Degli Autori in Italy, earning her a record contract and a busy performance schedule. I was able to reach her by e-mail during her travels last week across Europe, and despite a frantic schedule, Scott was able to respond to my questions about what’s new in her career and her life. And despite some bumps, things are looking up for the artist, who writes on her blog: “If I have learned one thing, it is that you never know when or where a chance meeting or connection will blossom into a new and incredible collaboration or experience.”
Tribune: What have you been doing in Italy?
Scott: I have been in Italy for the past 10 days recording a single of one of my new songs, “And Just,” and also competing in the Festival Degli Autori in Sanremo, Italy. I entered this competition last November, where I presented this song. They selected me to move on to the finals in the International section of this competition, which was focused on songwriting and performance. I arrived in Italy on June 12th to record my single with renowned producer Euro Ferrari, who has worked with artists from Isaac Hayes to Eric Clapton to Bjork. I also co-wrote a song with Italian songwriter Opim and wrote two verses in English for the theme song of the festival. When I came to the competition I already knew my song would appear on the festival compilation CD to be released in October of this year and distributed nationally, which was already quite exciting, but after two intense days of competition, incredibly, I won! The prize is a record deal. I was not expecting this, but am thrilled! In the audience there were also a lot of important industry people, such as reps from Sony and Warner, and the final performances of the winners were televised and broadcast nationally. I appeared on a national television program for an interview as well, so it was a lot of great exposure rolled into one little three-day ball! Directly after the festival, I hopped on a train to northern France to meet Agnes Dautraix, who does booking in Europe and offered several months ago to represent me. She has an impressive roster of artists, so I feel really honored to be part of it. I am performing two shows with French artist Norfolk, the second of which is tonight, and I was filmed for an Internet television show here called the Sex Room Sessions, which, regardless of the name, is a popular show in which they record live performances of touring artists. At tonight’s show, talent buyers for some important theaters will be there to listen, in preparation for a much larger tour of theaters and festivals next year.
Tribune: And what’s next in your career?
Scott: There are a lot of great things happening in the coming months. I have some more touring to do in the States, and then in September I will head to Japan to perform, which is a similar job to the ones I did in Vietnam and Korea and is again through Premier Talent International. It will include some more concert performances of my original music beyond the nightly artist in residence performances, and will not only be piano-vocal this time but also guitar-vocal. I will return to the states in January of 2011 and then head back to Europe in February to begin recording the full album with Euro Ferrari for the record deal through Sanremo Productions in Rome and then will perform several theater venues in France. Because part of the recording project is of course to tour and promote the record, the spring of 2011 will probably include touring in Italy, France and possibly Spain. Then in the summer of 2011 Agnes Dautraix plans to book a several-week tour of theaters and festivals. That is as far as I know right now, but it’s a dream come true. I was pretty close to giving up on music for the last couple of years, (at least in terms of pursuing it full-time to the sacrifice of a stable life and job) but I am so glad I didn’t. You never know when hard work and valuable contacts are going to combine to provide a great new opportunity. Considering that I’ve been at this for 12 years, I feel like I can finally make sense of some of the trials and tribulations I’ve been through, and see some purpose to the winding path I’ve taken to get here.
Tribune: On a separate note, what were some of your goals in creating the new cover CD, “Indigo,” and will you perform some of those songs at the Fourth of July concert in Columbia?
Scott: We may perform a song or two from “Indigo,” my latest CD. The idea for “Indigo” came about while I was performing in Asia. I p - The Columbia Daily Tribune

Hilary Scott lives ‘la bella vita’ with festival win, album deal
By Lynn Israel
Sunday, July 4, 2010
Hilary Scott, who will join her namesake band, along with the Kansas City Street Band and the Hickman High School Choir, as part of the entertainment at 6:30 p.m. today at “Fire in the Sky” at Memorial Stadium, is well-known to music fans in Mid-Missouri as well as Korea, Vietnam and the Northwest. Now the Italians are taking note.
She was named a winner at Festival Degli Autori in Italy, earning her a record contract and a busy performance schedule. I was able to reach her by e-mail during her travels last week across Europe, and despite a frantic schedule, Scott was able to respond to my questions about what’s new in her career and her life. And despite some bumps, things are looking up for the artist, who writes on her blog: “If I have learned one thing, it is that you never know when or where a chance meeting or connection will blossom into a new and incredible collaboration or experience.”
Tribune: What have you been doing in Italy?
Scott: I have been in Italy for the past 10 days recording a single of one of my new songs, “And Just,” and also competing in the Festival Degli Autori in Sanremo, Italy. I entered this competition last November, where I presented this song. They selected me to move on to the finals in the International section of this competition, which was focused on songwriting and performance. I arrived in Italy on June 12th to record my single with renowned producer Euro Ferrari, who has worked with artists from Isaac Hayes to Eric Clapton to Bjork. I also co-wrote a song with Italian songwriter Opim and wrote two verses in English for the theme song of the festival. When I came to the competition I already knew my song would appear on the festival compilation CD to be released in October of this year and distributed nationally, which was already quite exciting, but after two intense days of competition, incredibly, I won! The prize is a record deal. I was not expecting this, but am thrilled! In the audience there were also a lot of important industry people, such as reps from Sony and Warner, and the final performances of the winners were televised and broadcast nationally. I appeared on a national television program for an interview as well, so it was a lot of great exposure rolled into one little three-day ball! Directly after the festival, I hopped on a train to northern France to meet Agnes Dautraix, who does booking in Europe and offered several months ago to represent me. She has an impressive roster of artists, so I feel really honored to be part of it. I am performing two shows with French artist Norfolk, the second of which is tonight, and I was filmed for an Internet television show here called the Sex Room Sessions, which, regardless of the name, is a popular show in which they record live performances of touring artists. At tonight’s show, talent buyers for some important theaters will be there to listen, in preparation for a much larger tour of theaters and festivals next year.
Tribune: And what’s next in your career?
Scott: There are a lot of great things happening in the coming months. I have some more touring to do in the States, and then in September I will head to Japan to perform, which is a similar job to the ones I did in Vietnam and Korea and is again through Premier Talent International. It will include some more concert performances of my original music beyond the nightly artist in residence performances, and will not only be piano-vocal this time but also guitar-vocal. I will return to the states in January of 2011 and then head back to Europe in February to begin recording the full album with Euro Ferrari for the record deal through Sanremo Productions in Rome and then will perform several theater venues in France. Because part of the recording project is of course to tour and promote the record, the spring of 2011 will probably include touring in Italy, France and possibly Spain. Then in the summer of 2011 Agnes Dautraix plans to book a several-week tour of theaters and festivals. That is as far as I know right now, but it’s a dream come true. I was pretty close to giving up on music for the last couple of years, (at least in terms of pursuing it full-time to the sacrifice of a stable life and job) but I am so glad I didn’t. You never know when hard work and valuable contacts are going to combine to provide a great new opportunity. Considering that I’ve been at this for 12 years, I feel like I can finally make sense of some of the trials and tribulations I’ve been through, and see some purpose to the winding path I’ve taken to get here.
Tribune: On a separate note, what were some of your goals in creating the new cover CD, “Indigo,” and will you perform some of those songs at the Fourth of July concert in Columbia?
Scott: We may perform a song or two from “Indigo,” my latest CD. The idea for “Indigo” came about while I was performing in Asia. I p - The Columbia Daily Tribune

It's Hilary's voice that captures me most on this CD. The songs are well written, interesting and expertly pperformed, but she does this incredibly lovely lilting thing with her voice that Sarah McLachlan sometimes does...and others have attempted unsuccessfully, but Hilary's got it.

She has put together a nice band that backs her well, while not overshadowing but stands out nonetheless. Hilary is no small talent herself. She not only wrote all the songs and produced this recording but she also plays acoustic guitar, electric guitar, keyboard and vilin.

The songs that stand out most for me are "Gravity" and "Been Drinking Again" with their minor chords and sultry vocals. But I also liek "Calls from Springfield" which really showcases her amazing voice and range.

This is a very nice rock recording and I look forward to hearing more of Hfilary Scott. I wouldn't be surprised if I heard her on the radio soon (as long as Clear Channel doesn't buy up all the stations, that is). Posted July 19, 2003
written by Amy, Producer of Collected Sounds - Collected Sounds

It's Hilary's voice that captures me most on this CD. The songs are well written, interesting and expertly pperformed, but she does this incredibly lovely lilting thing with her voice that Sarah McLachlan sometimes does...and others have attempted unsuccessfully, but Hilary's got it.

She has put together a nice band that backs her well, while not overshadowing but stands out nonetheless. Hilary is no small talent herself. She not only wrote all the songs and produced this recording but she also plays acoustic guitar, electric guitar, keyboard and vilin.

The songs that stand out most for me are "Gravity" and "Been Drinking Again" with their minor chords and sultry vocals. But I also liek "Calls from Springfield" which really showcases her amazing voice and range.

This is a very nice rock recording and I look forward to hearing more of Hfilary Scott. I wouldn't be surprised if I heard her on the radio soon (as long as Clear Channel doesn't buy up all the stations, that is). Posted July 19, 2003
written by Amy, Producer of Collected Sounds - Collected Sounds

EXCERPT:

One of Ray Charles' former drummers, Billie Burns, heard Scott's music and was impressed. He began to circulate her tape to his friends and acquaintances in the music business...

When he speaks about her music, he grows excited. He sees artists all the time with varying degrees of potential. He took the chance on her because he knew she had "it."...

..."Her voice is strong and powerful. It communicates so much in and of itself."

Read the entire article by Amanda Dahling: www.hilaryscott.com/vox_article_hilaryscott.htm

- VOX Magazine, The Missourian,Columbia MO

EXCERPT:

One of Ray Charles' former drummers, Billie Burns, heard Scott's music and was impressed. He began to circulate her tape to his friends and acquaintances in the music business...

When he speaks about her music, he grows excited. He sees artists all the time with varying degrees of potential. He took the chance on her because he knew she had "it."...

..."Her voice is strong and powerful. It communicates so much in and of itself."

Read the entire article by Amanda Dahling: www.hilaryscott.com/vox_article_hilaryscott.htm

- VOX Magazine, The Missourian,Columbia MO

October 5th, 2005

This Woman's Work: Hilary Scott

Missouri-based singer-songwriter, Hilary Scott creates the kind of music that seems timeless. Rather than creating the 'sound of the moment,' Scott and her loyal band create musical landscapes. The instruments employed in her songs seem to do more than accentuate Scott's capable voice.

With her latest release, "Out Of The Wilderness", Scott continues her trademark style, blending rock fundamentals, a powerful voice and an obvious love of the craft to create some truly unique sounds.

Womenfolk is proud to introduce the fifth in its "This Woman's Work" series with the inclusion of Hilary Scott. - Womanfolk.net

September, 2005

I reviewed Hilary Scott's CD, "The Floating World", back in July of 2003. I remember being very impressed with her not only as a singer with a fabulous voice, but also a musician (playing several instruments on each recording) and as a great songwriter. Especially since she's pretty young.

Recently I got a package containing the rest of her discography and just wanted to share some really good recordings.

"Come In, Come In: Live" is a really nice Live CD. It has a lot of the songs I already like of hers and they're performed very well. "People on a Train" has a pretty intense guitar solo. It's obvious that Hilary Scott is not just a studio wonder, but can perform in front of a live audience with just as much skill. She does a lovely cover of Sinead O'Conner's "Last Day of Our Acquaintance".

"Hypothermia" is a great collection of fantastic pop-rock songs that deserve more attention than they're getting. I especially like "Jezebel", it's a hauntingly pretty song. This one you can only buy on her site.

"Out of the Wilderness" is an enhanced CD that includes videos and interviews as well as songs. I found the interview video particularly charming. It gives us a nice insight into this talented young woman. "Calls From Springfiled" is another highlight especially after watching the interview to see what the song is all about. - Collected Sounds

Hilary and her boys had me at "Gravity". If you haven't experienced the force of this Hilary Scott Band's current opener, you really need to see them live (or you can cheat and request "Gravity" on KBXR). Hilary's formerly six-piece, now seven-piece band was in top form at Mojo's on July 25th....(Rob) Lampe...played a mean slide in the second set on "That Kind of Woman" next to Hilary's superb violin playing. It was a magical moment when Hilary suspended one of her last violin notes in a violin solo near the end of this song like only a classically trained artist can. In fact, every song on July 24th was great - this band is really tight! If you haven't seen the Hilary Scott Band live, you're missing out on one of the best bands to have ever been formed in the Midwest. - comomusic.com, written by "starshine"

Reviewer: Jeff Dame

The Hilary Scott Band is one that embodies such musical styles as blues, pop, classical, folk and rock. The sound is one that is fresh in the world of pop star divas. Hilary Scott has been playing music since the age of 2 so it is no wonder the music sounds good. Consisting of Hilary Scott (songwriting, vocals, guitar, keyboard, violin), Bill Adams (guitar), Rob Lampe (electric guitar), Mike Robertson (bass), Michael Bielski (djembe/percussion), Loyd Warden (drums) and Matt Griffin (harmonica).

Hilary Scott has the potential to be as big as the likes of Alanis Morisette, Tori Amos or Sheryl Crow. With a multitude of instruments played on each song you would think that they could easily run awry but when you add in Hilary's vocals it all blends together into touching and powerful songs that make you wish that you were as talented as she is. Now I know that I am constantly saying, check out this band or check out that band, but The Hilary Scott Band is one that I feel will be big, listen to her now and you can say I have been in since the beginning. - Northeast In-Tune, Volume 2, #5, May 15-June 14, 2006

Hilary and her boys had me at "Gravity". If you haven't experienced the force of this Hilary Scott Band's current opener, you really need to see them live (or you can cheat and request "Gravity" on KBXR). Hilary's formerly six-piece, now seven-piece band was in top form at Mojo's on July 25th....(Rob) Lampe...played a mean slide in the second set on "That Kind of Woman" next to Hilary's superb violin playing. It was a magical moment when Hilary suspended one of her last violin notes in a violin solo near the end of this song like only a classically trained artist can. In fact, every song on July 24th was great - this band is really tight! If you haven't seen the Hilary Scott Band live, you're missing out on one of the best bands to have ever been formed in the Midwest. - comomusic.com, written by "starshine"