We can trace many roads to where Rebekah Pahl is as an artist today, on the cusp of releasing her latest EP, Canyons, on November 4th. There’s Pahl as an imaginative child, spending hours journaling in the small East Texas town where she grew up. There’s coed Pahl, who lived in the big city of Chicago and cut her teeth in roots music, taking guitar & songwriting classes at the Old Town School of Folk. There’s the Pahl steeped in the training of John Defoore, a teacher who had a hand in shaping some of the biggest country careers today, Miranda Lambert and Kacey Musgraves. There’s Pahl, a recording artist navigating the music scene in Austin, TX, Pahl, a newlywed, living in the Santa Cruz mountain redwoods, and of course, there’s so much more. Her latest effort, Canyons, produced by five-time Grammy nominee Paul Moak, proves that the young artist is not simply one or the other—she’s a complicated amalgamation of all of these influences, talents, people and places in her past and present.
Today, Elmore is premiering the lyric video for Pahl’s recently released single, “Wine in the Cellar,” a track that shows the blend between her West Coast folk/rock sensibilities with the lonesome, country twang of Nashville and Austin. Pahl says of the song and video, “”Wine in the Cellar” is about that period of time between a dream’s conception and its flourishing. I wrote it because I needed it— a calming reassurance in the midst of uncertainty that there is a rhythm to life that can be trusted. Even when there doesn’t seem to be much happening, things like strength and grit are building, and you’ll need that for whatever is ahead. The video goes back and forth from footage my husband and I took in Joshua Tree while filming for my Kickstarter, and then footage from recording at Paul Moak’s studio, the Smoakstack, in Nashville. It felt fitting to include footage from the recording process as well as scenes from the desert where I get so much inspiration.”
Her airy, girlish vocals may remind listeners of Grimes, but there’s a powerful emotional depth to the lyrics that, when paired with the desolate, black and white footage of the desert of Joshua Tree, evokes a feeling of longing; “I found you in the sky above, a lonely moon,” Pahl sings. But as the track progresses, there’s a distinct swell of warmth, a sensation that radiates in part from the shots of Pahl in a studio lit by candles and fairy lights. The sky above the desert brightens into a dreamy pink as the drums pick up their shuffle and Pahl croons her sweet reminder to count our blessings; “I don’t know that last time when I told you that I wouldn’t trade a minute waiting all these days with you.”