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Tristan Prettyman
Tuesday Jan 29, 2013 7:00pm-10:00pm in San Francisco
Get tickets at www.gamhtickets.com

With her first three recordings, 2003's The Love EP, 2005's breezy twentythree and 2008's Hello, Tristan Prettyman parlayed her smoky alto voice and laid-back surfer-girl-from-San-Diego charm into an eight-year career studded with highlights that included Hello's No. 2 position on the iTunes Digital Albums chart and headlining tours across the U.S., Europe, and Japan.

But instead of capitalizing on the attention and immediately making plans to record a third album after wrapping two years of touring in support of Hello, Prettyman took an extended break during which she traveled the globe, had surgery to remove polyps on her vocal cords, got engaged to her long-term boyfriend, dealt with the pain of his ending the engagement, and eventually questioned whether she even wanted to be a musician at all.

Prettyman chronicles the experience on her new album, the raw, emotionally charged Cedar and Gold, which finds her sifting through the wreckage of her relationship and emerging stronger on the other side.

With an artistry that lies in her finely etched lyrical details and intimate vocal performances, Prettyman spares no one, including herself, on songs like "Say Anything," "I Was Gonna Marry You," "Come Clean," "Glass Jar," and "Never Say Never," which ends a heartbreaking spoken-word outro: "You can't start a fire in the pouring rain."

As intense as some of the songs may be, the mood is tempered not only by playful, lighthearted tunes like first single "My Oh My" ("about someone still having their hand on you and you playing that game with them because it's fun, even though you know it's not good for you and it's going to backfire"), "The Rebound," "Quit You," and the sexy, smoldering "Bad Drug," but also by the album's warm, earthy sound, which Prettyman created with her producer Greg Wells (Adele, Katy Perry), who plays piano, bass, drums, and some guitar on the album. "Greg told me he was not going to hold my hand through this; I had to convince him I wanted it," she says. "He forced me to step into really being a musician and owning what I do. Once I did that, I got super creative and the songs started coming from a different place. It was a very intuitive process."

Cedar and Gold (whose title refers to both the cedar walls and ceilings in the home where she recovered from her heartbreak and the gold she spun from her situation in the songs) is an album that manages to be both deeply personal, but highly relatable to anyone who's had the ground collapse under them and fought their way back to healing. "It's actually a very hopeful album in a lot of ways, which I think is a common theme in all my records," she says. "The idea that 'things may be a bit crappy right now, but let's make the most of it' is very reflective of me as a person and my outlook on life. I always try to look at the bigger picture of why something is happening. And I love that I was able to go so deep and dig around in places I never thought I could access and still remain hopeful at the end of the day."

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Great American Music Hall

859 O'farrell Street (Between Polk And Larkin Stre
San Francisco, CA


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