Following it up two years later with her self-titled debut, she served up country-fried barnstormers alongside softer, more tranquil moments – re-emphasizing just how confident she was at still such a tender young age as a songwriter. If that wasn’t impressive enough, her powerhouse voice had the ability to blow the roof off numerous places all at once.
Ironically, even though her new material was recorded at RCA Studios in Nashville, Different Kinds Of Light sees Bird stepping away from the country rollick and twang of her debut and expanding her sound. The title-track is elegant and tender, floating along on mystic energy a la Stevie Nicks, and “Red White and Blue” is a delicate acoustic guitar number; both are evidence Bird doesn’t have to be in fiery-vocal mode to capture your attention. The scratchy fuzz of “1994” is more at home in an alt rock world, while “Honeymoon” motors along with the spirit of raggedy, ‘70s-era garage-punk-rock, just tighter and slightly more polished.
There’s fewer moments of Bird producing fireworks with her vocals throughout Different Kinds Of Light, and while that may leave some early fans feeling somewhat unfulfilled, it’s as strong a sign as any that she’s matured and is operating with a newfound dynamism as a songwriter – there’s more to her than just that huge voice. No longer wanting to be pigeonholed, Bird’s starting a bright new chapter and striking out on her own path.