By: Michael Kevin |

Atlanta-based folk singer and songwriter Faye Webster returns with another full length album straight from her hometown with “Atlanta Millionaires Club”, and she is bringing nostalgic sadness onto the table with 50’s era pop with a touch of RnB and her reflective, yet melancholic storytelling setting the mood for the majority of the album. “Atlanta Millionaires Club” is her third full length album following her self-titled LP which was released back in 2017 and her first album “Run and Tell” in 2013.

Similar to the first two albums, Webster relies on her classic slide guitar, the sound of brass accompanying the soulful folk sound she inherited from her mother and grandmother, with her self-deprecating lyrics added to the sound forming surprisingly coherent, sugar-coated sad songs. Some stand outs include the self-remorse anthem coated with classic tropical pop influences from the 50’s “Room Temperature”, songs for those with a sense of longing such as “Right Side of My Bed”, a fusion between atmospheric and classic folk pop and RnB sound which became one of the leading singles with the song “Kingston”, and the depressing classic pop slow jam “Hurts Me Too”.

Webster’s connections to some Atlanta rappers as a result of her relationship with fellow Atlanta rapper and producer Ethereal, leads to possibly the most distinctive song in the album, titled “Flower”, a simple lo-fi bedroom pop number with a slight trap ambience accompanied by a collaboration between Webster and another fellow Atlanta rapper, Father, which altered the whole album’s tone completely. It seems unnecessary for Webster to put this song on the album rather than releasing it as a stand-alone single, but somehow it fits into the album without jeopardizing the tone of the album itself, making the song another standout in the album.

Overall, “Atlanta Millionaires Club” is another solid take on the folk genre with its consistent, yet simple production. Webster’s risky take in blending folk with RnB aesthetics is proven to be a successful one, bringing colour onto the genre without completely diminishing her folk roots. However, her song writing although proven to be considerably solid most of the time on this album, can be underwhelming for its simplicity and the repetition on some of the songs which can be very dreary for the listeners. But as a whole, it’s an album worth listening to if you’re into the nostalgic feeling of retro style pop from the 1950’s era.

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