Two of our era's finest folk Americana songwriters — Seattle's "hidden gem" Dean Johnson and Nashville's indie folk-pop artist Erin Rae — perform together and solo in a round robin style.
Three years after the release of her critically acclaimed debut, 
Putting On Airs
, Nashville-raised singer-songwriter 
Erin Rae
 shares an intimate, honest, and playful version of herself through her sophomore album 
Lighten Up
. Produced by Jonathan Wilson, and recorded in the musically hallowed grounds of California’s Topanga Canyon, the album represents a sonic and inner shift for Rae. In it, she embraces more of her influences, like baroque-pop, cosmic country, and indie-folk songs while mirroring a more compassionate self-view she calls “accepting my humanness.”
Although she grew up in a musically oriented family, Rae’s pursuit of music happened by accident. After being gifted a Martin acoustic guitar on her 18th birthday, Rae decided to drop out of college after just one semester. Her goal at the time had little to do with making music into a career, and everything to do with spending more time and energy with the community of musicians and writers she knew back home. Looking back on those days, she recalls the initial high of playing live at an open mic during winter break and realizing, “this is how I connect with people. I have to pursue this.”
Rae has continued to connect with people through her music ever since, performing at mainstays like Newport Folk Festival, Red Rocks Amphitheater, and sharing stages with Father John Misty, Hiss Golden Messenger, Jenny Lewis, Jason Isbell, and Iron & Wine. The success of 
Putting On Airs
 also earned her a nomination for Emerging Act of The Year at the 2019 Americana Music Awards alongside other trailblazing artists like Yola, Jade Bird, and J.S. Ondara. When the Covid-19 pandemic called a halt to touring, Rae took advantage of the opportunity to revel in a wide range of musical influences she had absorbed since the making of 
Putting On Airs
, sitting in an un-rushed space while deciding which direction she wanted to take her music next.
Not long after crossing beyond the neon into Al’s Tavern, one might catch murmurs drifting up and down the bar during 
Dean Johnson
’s bartending shifts – nudges and whispers that he might just be the best songwriter in town. “Wait ’til you hear him sing. Just don’t ask him to do it, because he won’t. He might do another show this year, but probably not.” Al’s regulars, howsoever biased, speak of his talent like a family secret – Seattle folklore. How many times, and for how many years, has Dean elusively replied to some variation of the question, “When will there be a record?”
The phrase “hidden gem” would seem appropriate here, but it’s a misnomer when talking about Dean Johnson. He shines bright, in plain sight, and it was only a matter of time before people stopped to take a look. Dean’s gentle and passionate approach to songwriting has inspired many, and his work provides the listener the opportunity to believe once more that a song can be more than the sum of its parts. If you catch even a phrase of his melodies or the sobering tone of his voice, it waltzes its way into your heart like a letter written, signed, sealed, and delivered just for you.
His debut album 
Nothing for Me, Please
 was recorded at Mashed Potato Records in New Orleans with the help of Sam Gelband and Charlie Meyer, Dean’s bandmates in The Sons of Rainier; as well as Mashed Potato regulars Sam Doores, Duff Thompson and Steph Green. The record is a hazy, relaxed daydream—– anthems for those who know the sweetness and coldness of quiet moments, the power and the pain of love. Whether you’ve been waiting patiently these many for Dean to release these songs, or you’re just now coming across his work for the first time, the name Dean Johnson, much like his songs, won’t soon leave your mind.
Information Source: SPACE | eventbrite

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