4 To Watch For: Amos Lee

Starting a career in the proving grounds of open-mic nights could be the most harrowing and humbling initiation for any songwriter, but Amos Lee took to it with ease. After teaching literacy to second graders in Philly’s inner-city school system, one’s constitution is not rattled by much, except of course for the emotional decision to give up the blackboard for the blacktop. The difficulty of connecting with jaded seven- and eight-years-olds seemed the perfect preparation for facing discerning and cantankerous crowds. Lee did so well, he soon found himself opening up for such legends as Bob Dylan, B.B. King and Mose Allison. But it was opening for Norah Jones in Europe and the U.S.—sometimes in front of 10,000 or more people, armed only with his guitar and voice—that made him realize he made the right choice. Blue Note agreed and signed on to release his eponymous debut.

On first listen, the easy-going, 27-year-old folk/soul singer’s sound conjures intimations of a neo-Sam Cooke laced with Donny Hathaway and Martin Sexton inflections. But with further lyrical scrutiny the overall package is more Bill Withers’ heart pierced by John Prine’s vigor. In fact, when asked what song inflicted the most damage to his chances of remaining a teacher, the answer quickly falls on Prine’s lifeline, “Angel from Montgomery.”

“That tune followed me everywhere I went when I was thinking about being a musician,” Lee says. “Anytime I went to see a show, somebody played it—I mean every time. Bonnie Raitt, Dave Matthews, Emmylou Harris, you name it—everybody just relates to that song. Ironically, most people have no clue that Prine wrote it.”

Lee’s back-to-the-woodshed mentality feeds his soul, and it’s clear the constant flux and fluidity of being a musician on the road is something that has been injected into his veins.

“When my manager asked me what I wanted, I just said I wanted a career. I want to be able to play in any club all over the country and beyond. Non-stability is an earmark in my life, and I feel I will always be that way. I still reach out for the stable shit—having a family and chilling and not worrying about all the crap that comes with being on the road—but nothing’s perfect, and that’s what the music is all about.” Before he leaves for the stage, he laughs and adds, “Hell, if there is one thing I brought to this project and my music, it’s imperfection.”