#tmiradioshow

[fuckyeahmackenziescott]

“[Scott’s] stage presence was like that of a well seasoned performer. . . . There’s no doubt that Torres has all the makings of a great songwriter and performer, and at the young age of 22, Mackenzie Scott looks to have a long promising career on stage ahead of her.”

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“[Scott] is an emerging talent and a name to remember.”

—Quote #1 source, Quote #2 source

[fuckyeahmackenziescott]

“The reverberant concrete echo on Mackenzie Scott/Torres’ self-titled debut album makes every note and rare snare strike sing along with her like a choir. The giant room comes alive and begins to glow as her warm voice draws you closer and closer, transforming her intimate ballads into something truly grandiose with nothing but the quake in her vocal chords.”

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“When you hear the voice of a captivating story teller, especially one who conveys such an overwhelming amount of emotion, there is an instantaneous feeling that takes hold, despite the size of the venue or the number of fans in the crowd. That feeling was in the air when Torres, the performing name for Nashville singer/songwriter Mackenzie Scott and her band, broke into her first song. . . . Whether she was backed by her band, playing solo with nothing but her guitar, or hitting gloomy notes on a keyboard, Scott was able to draw the crowd in while baring her soul through her raw intimate lyrics, especially during her most famous song to date, ‘Honey’.”

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“Torres played solo last night [December 4, 2014] and I’ve never heard the Bowery Ballroom so quiet—to the back and into the balcony. She had everyone in there.”

—Quote #1 source, Quote #2 source, Quote #3 source

[fuckyeahmackenziescott]

“[Scott was displaying] a high level of intensity while belting out vocals and playing her Gibson, and being sweet and personable to fans in between songs with a humble smile on her face.”

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“For as hurt and angered as she may seem in her music, . . . Scott is a humble, hopeful, and thoughtful individual.”

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“I found Mackenzie to be self-effacing, funny, and very thoughtful.”

—Quote #1 source, Quote #2 source, Quote #3 source

[fuckyeahmackenziescott]

“The production and concept [on Torres] is fresh, leaving in every blip and creak, showing just how valuable and genuine a one take recording can be.”—Zachary Kaczmarek

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Mackenzie Scott: I did know, for this first record, that I wanted everything on that tape as it came out, you know, initially, and that doesn’t necessarily have to literally mean the first take, but within the first few, most definitely. I didn’t want it to get to a point where I was—where we were recording a song so much to get it so perfect that it didn’t sound human anymore. I didn’t want it to sound like we were going through the motions recording this, because, you know, everything was, for the most part, done completely live.

Interviewer: Right, this is no—there’s no Pro Tools—

Mackenzie Scott: No, not—there is nothing digital about it. It was, you know, if you mess up—its not like you can’t go back and do it again, but you can’t punch in in the middle of a song. You have to do an entire live take, and a lot of times there would be little, you know, not huge things, but—

Interviewer: Little imperfections.

Mackenzie Scott: There were little imperfections just with my guitar work and that—here and there, just scattered throughout—I—a couple places where my voice wasn’t as perfect as it could have been and, what, maybe wasn’t as beautiful, but sounded—you know, the emotion trumped everything else.

—Quote source, Interview source

[fuckyeahmackenziescott]

With her powerful and moving voice Scott showcased her ability to carry louder melancholic moments like a PJ Harvey, but yet soft and gentle enough to illuminate calm and serene folk songs like ‘Come to Terms’ and ‘Don’t Run Away, Emilie’.

http://tmiradioshow.com/index/concert-recap-torres-pub-rock-live/

[fuckyeahmackenziescott]