Katey Laurel

I know what you're thinking: The world needs another sensitive singer-songwriter like it needs more layoffs and higher gas prices. But those with an affinity for the style will find some worthwhile material on Upstairs, Downstairs. The poppier numbers, such as "Twentysomething" and "Angels in the Attic," are accessible and...

By Michael Roberts

December 11, 2008

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I know what you're thinking: The world needs another sensitive singer-songwriter like it needs more layoffs and higher gas prices. But those with an affinity for the style will find some worthwhile material on Upstairs, Downstairs. The poppier numbers, such as "Twentysomething" and "Angels in the Attic," are accessible and well-structured, if more familiar than is strictly necessary. But Laurel's alternately wispy and husky voice makes a greater impression when it's operating in darker settings, as on "Earthquake" and "See-Through," which supplements its strumming with some effective strings, or approximations thereof. And while "No One Else" isn't exactly lyrically innovative (did you know pain cuts like a knife?), her emotional performance helps it make a mark. On this album, anyway, down is preferable to up.

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Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

Contact: Michael Roberts

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