Bek-Jean Stewart’s 6th studio offering ‘Fierce Attachments’ delivers an impressive 18 song collection marked by their characteristic Americana flair. The double album, recorded at Leisure Suit Studios with long-time collaborator and mixing engineer Grant Shanahan, is a remarkable collection of women’s stories bringing to focus the uniquely

Bek-Jean Stewart’s 6th studio offering ‘Fierce Attachments’ delivers an impressive 18 song collection marked by their characteristic Americana flair. The double album, recorded at Leisure Suit Studios with long-time collaborator and mixing engineer Grant Shanahan, is a remarkable collection of women’s stories bringing to focus the uniquely feminine struggles to find their place in society, and the daily battle faced by ordinary women living in a seemingly unchanging male dominated society.

The fierce honesty of Stewart’s lyrics reveals a vulnerability that in previous albums ‘Records Are Written In The Bones’ and ‘Songs From The North’ has been lurking, always present, waiting to be truly seen. This album appears to peel back the layers, revealing an artist who is becoming increasingly comfortable in their own skin. Overall this is a more reflective album than Stewart’s last, delving deeper into their state of inner-ness, showcasing an increasing maturity, courage and complexity of songwriting.

Songs from the North (2019) is described as a response to "the push me / pull you of a fucked-up, ultimately destructive love. Sometimes, I fear that the only way I can truly love someone is to walk away, and love them from a distance." Bek-Jean Stewart. Grant Shanahan’s expert musicality is also showcased on this record. His skill is heard on

Songs from the North (2019) is described as a response to "the push me / pull you of a fucked-up, ultimately destructive love. Sometimes, I fear that the only way I can truly love someone is to walk away, and love them from a distance." Bek-Jean Stewart. Grant Shanahan’s expert musicality is also showcased on this record. His skill is heard on drum tracks that hark back to the ‘80s, while his innovative layering of string sounds creates a complex soundscape. Glenn Thomson, who played piano and synth sounds, writes of playing on the record: "I ended up at a light night dance party where, for a small cover charge, I was drugged and then encouraged to dive deep into Smithdom, but not before just saying no to any further offerings." The songs on this album are emotionally raw. The authenticity of Stewart's songwriting burns through in tracks as diverse as 'Red Light', with its angry lyrics and hard-hitting musical arrangement, and 'Driving 'Round In The Dark', which harks back to Stewart's early pop sensibilities.

Stewart’s fourth solo release, Records Are Written In The Bones (2017) explores fear and solicitation, the importance of the animal bond, the beauty of the natural world, living by rivers, and the transformation of one’s soul, while not hiding from the loneliness and isolation that is ever-present in her songs. Stewart is unafraid to examine

Stewart’s fourth solo release, Records Are Written In The Bones (2017) explores fear and solicitation, the importance of the animal bond, the beauty of the natural world, living by rivers, and the transformation of one’s soul, while not hiding from the loneliness and isolation that is ever-present in her songs. Stewart is unafraid to examine difficult thoughts and feelings, from the challenge of being born into the ‘wrong’ body, to fantasies of murder, or suicide. Records Are Written in the Bones confirms Stewart’s prodigious ability to make the listener’s heart ache with emotion.

Amos v Ann relates the tale of two lovers who come together to travel a very hard road. They share early bliss, from which arise two children, before the rot sets in, ending in tragedy. When Ann leaves the relationship, Amos reacts violently, then must deal with the guilt; beautifully presented in the album’s final song, Epitaph. It is Ann’s

Amos v Ann relates the tale of two lovers who come together to travel a very hard road. They share early bliss, from which arise two children, before the rot sets in, ending in tragedy. When Ann leaves the relationship, Amos reacts violently, then must deal with the guilt; beautifully presented in the album’s final song, Epitaph. It is Ann’s funeral march, but it is Amos’s as well; his living death, presented on the album as a reprise of the first track.

As always, Stewart’s rich, layered voice confounds the listener’s ears with complexity, whilst carrying them through a complex emotional landscape. Recorded live, with minimal overdubs, Amos v Ann boasts a full, raw sound spanning a range of instrumentation and a maturing depth of songwriting; a landmark in Stewart’s continuing musical career.