Tour Dates

• 4/10 - Detroit, MI @ Jam Handy *

• 4/11 - Pittsburgh, PA @ Rex Theater *

• 4/14 - Philadelphia, PA @ Union Transfer *

• 4/15 - Holyoke, MA @ Gateway City Arts *

• 4/16 - Boston, MA @ Royale

• 4/17 - Providence, RI @ Columbus Theatre *

• 4/18 - Brooklyn, NY @ Elsewhere ^

• 4/19 - Brooklyn, NY @ Elsewhere ~

• 4/23 - Washington, DC @ 9:30 Club *

• 4/24 - Saxapahaw, NC @ Haw River Ballroom *

• 4/25 - Nashville, TN @ Mercy Lounge *

• 4/26 - Atlanta, GA @ Terminal West *

• 4/27 - Birmingham, AL @ Saturn *

• 4/29 - Baton Rouge, LA @ Mid City Ballroom *

• 4/30 - Houston, TX @ The Satellite *

• 5/1 - Dallas, TX @ Sons of Hermann Hall *

• 5/2 - Austin, TX @ Scholz Garten *

• 5/4 - Tucson, AZ @ Club Congress +

• 5/7 - Pioneertown, CA @ Pappy and Harriet's +

• 5/8 - Los Angeles, CA @ First Congregational Church of LA +

• 5/9 - San Francisco, CA @ The Castro Theatre

• 5/10 - Sonoma, CA @ Gundlach Bundschu Winery +

• 5/12 - Portland, OR @ The Old Church +

• 5/13 - Portland, OR @ Aladdin Theater +

• 5/14 - Vancouver, BC @ Christ Church Cathedral +

• 5/15 - Seattle, WA @ The Neptune Theatre +

• 5/20 - Maquoketa, IA @ Codfish Hollow Barn

• 5/21 - Minneapolis, MN @ Fine Line Music Cafe *

• 5/22 - Madison, WI @ Majestic Theatre *

Waxahatchee (aka Katie Crutchfield) has announced her new album, Saint Cloud, to be released on March 27 via Merge Records. Along with today's exciting news come spring tour dates and a music video for lead song "Fire," giving fans an early preview of what they can expect on this groundbreaking record. 

Saint Cloud is available for pre-order on CD, standard LP in a single jacket, and coke bottle-clear Peak Vinyl housed in a gatefold jacket (both vinyl editions include a large full-color poster) in the Merge store, or wherever records are sold. 

Of the song, Crutchfield says, "The idea and melody for 'Fire' were dreamt up while driving over the Mississippi River from Memphis into West Memphis, AR, the sun reflecting off the water which literally made West Memphis glow. The song's written by me, to me. It's about the internal dialogue of shame surrounding mistakes you've made in the past and how we spiral and beat ourselves up when we slip. It's meant to be a bit of a personal pep talk. If I can love myself unconditionally, then I can move through the world a little easier. If I can accept that I only have a partial view of the universe and that I can't know everything or control much of anything, then I can breathe a little easier, take better care of myself, and be closer to my own truth."

Written immediately in the period following her decision to get sober, Saint Cloud is an unflinching self-examination. From a moment of reckoning in Barcelona to a tourist trap in Tennessee to a painful confrontation on Arkadelphia Road, from a nostalgic jaunt down 7th Street in New York City to the Mississippi Gulf, Crutchfield creates a sense of place for her soul-baring tales, a longtime staple of her storytelling. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. 

While her last two records (Out in the Storm, Ivy Tripp) featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield's voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time.

From the origins of her band name-the beloved creek behind her childhood home-to scene-setting classics like "Noccalula" and "Sparks Fly," listening to Waxahatchee has always felt like being invited along on a journey with a steely-eyed navigator. On Saint Cloud, Crutchfield adds a new sense of perspective to her travels. Reflecting on this, she says, "I think all of my records are turbulent and emotional, but this one feels like it has a little dose of enlightenment. It feels a little more calm and less reckless."

Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself. This coalesces most clearly on "Fire," which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance. Coming from a songwriter long accustomed to looking in other directions for love, it's a stirring moment when Crutchfield sings, "I take it for granted/If I could love you unconditionally/I could iron out the edges of the darkest sky."

This is not to say that Saint Cloud lacks Crutchfield's signature poetry on matters of romantic love. Still, her personal evolution in this area is evident too, as this time around, Crutchfield examines what it really means to be with someone and how it feels to see our own patterns more clearly. On "Hell," she sings: "I hover above like a deity/But you don't worship me, you don't worship me/You strip the illusion, you did it well/I'll put you through hell." 

Crutchfield also looks at what it's like to be romantically involved with another artist, someone in search of their own truth, on "The Eye": "Our feet don't ever touch the ground/Run ourselves ragged town to town/Chasing uncertainty around, a siren sound" and "We leave love behind without a tear or a long goodbye/as we wait for lightning to strike/We are enthralled by the calling of the eye."

And of course, even when Crutchfield is taking a more nuanced approach to love, her ease with all-encompassing sentiments is still clear, with lines like "I give it to you all on a dime/I love you till the day I die" which sound culled from a classic torch song. 

Over the course of Saint Cloud's 11 songs, which were recorded in the summer of 2019 at Sonic Ranch in Tornillo, TX, and Long Pond in Stuyvesant, NY, and produced by Brad Cook (Bon Iver, Big Red Machine), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country (like the honky tonk ease of "Can't Do Much"), folk-inspired tones (heard in the confessional lilt of "St. Cloud"), and distinctly modern touches (like the pulsating minimalism of "Fire").

To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit-based band Bonny Doon, to serve as her backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bonny Light Horseman) on guitar and keyboards and Nick Kinsey (Kevin Morby, Elvis Perkins) on drums and percussion. Bonny Doon will also perform as Crutchfield's live band during her extensive tours planned for 2020, which include the US and Europe. 

Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she's now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.