Press
Below is a selection of press highlights that speak to Annick Odom’s work across contemporary composition, old-time and folk traditions, interdisciplinary storytelling, and community-rooted performance. From reviews of her experimental chamber music project Linen of Words to international coverage of her string band Sweet Joe Pye, these excerpts reflect the breadth of her creative practice and the resonance of her work with audiences and critics alike.
About the New Album "Linen of Words"
“Startlingly creative”
“When listening to ‘How Can I Keep From Singing,’ the first song on Annick Odom’s Linen Of Words, you could be forgiven if you take the album as just another excellent example of traditional Appalachian folk ballads.”
“That illusion is quickly put away by the stunningly arranged second song… And those, dear reader, are the least unusual treatments of the dozen songs on this quietly amazing disc.”
“Odom’s own songs… are strong and original examples of modern folk with spare but creative arrangements. That creativity blooms wilder as things proceed.”
“‘Bow and Balance’ […] skips back and forth between a stately waltz and an uptempo jazzy reel and finally devolves into a freely improvized soundscape featuring electronics, stuttering drums and soloist Yuma Uesaka on bass clarinet; it wraps with a powerful sacred harp type choral refrain.”
“‘Taking Elevators’ is a self-contained little operetta, a shaggy dog tale told in first person by a rural woman who visits a department store in the big city. The soundscape draws on a collage of instrumental and choral contributions by her collaborators.”
“Spoken word, chamber folk, experimental folk … Linen of Words is a must listen…” — Gary Whitehouse at A Green Man Review and here on Linen of Words
“When listening to ‘How Can I Keep From Singing,’ the first song on Annick Odom’s Linen Of Words, you could be forgiven if you take the album as just another excellent example of traditional Appalachian folk ballads.”
“That illusion is quickly put away by the stunningly arranged second song… And those, dear reader, are the least unusual treatments of the dozen songs on this quietly amazing disc.”
“Odom’s own songs… are strong and original examples of modern folk with spare but creative arrangements. That creativity blooms wilder as things proceed.”
“‘Bow and Balance’ […] skips back and forth between a stately waltz and an uptempo jazzy reel and finally devolves into a freely improvized soundscape featuring electronics, stuttering drums and soloist Yuma Uesaka on bass clarinet; it wraps with a powerful sacred harp type choral refrain.”
“‘Taking Elevators’ is a self-contained little operetta, a shaggy dog tale told in first person by a rural woman who visits a department store in the big city. The soundscape draws on a collage of instrumental and choral contributions by her collaborators.”
“Spoken word, chamber folk, experimental folk … Linen of Words is a must listen…” — Gary Whitehouse at A Green Man Review and here on Linen of Words
“With this second album, Annick Odom delivers a strange and captivating object. Captivating because it demonstrates great musicality and a perfect mastery of styles and genres across twelve tracks. Strange because the listener enters a personal universe where the familiar is subtly called into question by the intrusion of other styles and experimentation. This is the successful approach of an album that is difficult to classify.”
“At the center is Annick's voice, rich in nuance, capable of shining without shouting.”
“The bluegrass, old-time, and folk ballad enthusiast is never lost.”
“It vibrates, it is warm, and above all it is magnificently harmonized, whether in duet or with polyphonies drawn from classical music or jazz.”
“While some tracks come from the old traditional repertoire, they are often transformed into something else along the way, as if swept up by a foreign musical field, sustained by a collective of twenty musicians.”
“The experimentation is also enriched—without becoming heavy-handed—by sound effects that give texture to the songs like a true soundtrack, creating a cinematic evocative effect.”
“This album makes me think of certain Marty Stuart songs in its approach.”
“People talking in the background, birds, the flow of running water, and improvisations in which the double bass excels. It is very visual.
“Some tracks exceed standard formats and function like mini-operas or musical theatre. It breathes, it takes the time to unfold.”
“At a time when streaming is saturated with synthetic garbage generated by soulless, directionless AI, this album could almost stand as a manifesto. 'The linen of words' is that of rigor, of humanity, of devotion to a heritage that is not frozen but oriented toward the future. It deserves to be promoted by every possible means.” — Le Cri du Coyote Disqu'airs on Linen of Words
“At the center is Annick's voice, rich in nuance, capable of shining without shouting.”
“The bluegrass, old-time, and folk ballad enthusiast is never lost.”
“It vibrates, it is warm, and above all it is magnificently harmonized, whether in duet or with polyphonies drawn from classical music or jazz.”
“While some tracks come from the old traditional repertoire, they are often transformed into something else along the way, as if swept up by a foreign musical field, sustained by a collective of twenty musicians.”
“The experimentation is also enriched—without becoming heavy-handed—by sound effects that give texture to the songs like a true soundtrack, creating a cinematic evocative effect.”
“This album makes me think of certain Marty Stuart songs in its approach.”
“People talking in the background, birds, the flow of running water, and improvisations in which the double bass excels. It is very visual.
“Some tracks exceed standard formats and function like mini-operas or musical theatre. It breathes, it takes the time to unfold.”
“At a time when streaming is saturated with synthetic garbage generated by soulless, directionless AI, this album could almost stand as a manifesto. 'The linen of words' is that of rigor, of humanity, of devotion to a heritage that is not frozen but oriented toward the future. It deserves to be promoted by every possible means.” — Le Cri du Coyote Disqu'airs on Linen of Words
“With her innate folk voice, Odom tells stories in a very intriguing way.”
“The reworked Celtic music from the homelands of the first emigrants to Appalachia and her own compositions create an album with an unprecedented atmosphere.”
“Odom certainly does not shy away from experimentation.”
“She is an artist in creating sounds and using instruments at moments when you do not immediately expect them.”
“The double bass, on which she also regularly performs solo, is an instrument of abrasive beauty.”
“A musical beauty is 'Amity And Lone Pine.'”
“'Taking Elevators' is impressive not only because of its bizarre story, but certainly because of its versatile musical approach.”
“'Bingham Bailey' is one of the folk jewels from the Celtic tradition. In Odom's arrangement, it is given her characteristic loose and free jacket.”
“An album like this relies on the listener.”
“It is fantastic that there are musicians like Odom who shape tradition to their own hand on their musical path.”
“They continue telling stories and, just as importantly, continue making them.”
“Odom throws tradition around and plants seeds of free musicality everywhere.”
“I enjoy this enormously and let myself be carried away once again by the moving 'Hello Bill.'”— Real Roots Café on Linen of Words
“The reworked Celtic music from the homelands of the first emigrants to Appalachia and her own compositions create an album with an unprecedented atmosphere.”
“Odom certainly does not shy away from experimentation.”
“She is an artist in creating sounds and using instruments at moments when you do not immediately expect them.”
“The double bass, on which she also regularly performs solo, is an instrument of abrasive beauty.”
“A musical beauty is 'Amity And Lone Pine.'”
“'Taking Elevators' is impressive not only because of its bizarre story, but certainly because of its versatile musical approach.”
“'Bingham Bailey' is one of the folk jewels from the Celtic tradition. In Odom's arrangement, it is given her characteristic loose and free jacket.”
“An album like this relies on the listener.”
“It is fantastic that there are musicians like Odom who shape tradition to their own hand on their musical path.”
“They continue telling stories and, just as importantly, continue making them.”
“Odom throws tradition around and plants seeds of free musicality everywhere.”
“I enjoy this enormously and let myself be carried away once again by the moving 'Hello Bill.'”— Real Roots Café on Linen of Words
“Rather than presenting tradition as artifact, Odom frames it as living material that can be handled, reshaped, and in conversation with the present-day.” — Keys and Chords on Linen of Words
“[Odom] explores heritage and innovation in new album. [... She] collaborated with more than 20 musicians across genres. Layered and experimental sound.” — WV News on Linen of Words
“The lovely Linen of Words [...] takes numerous old folk and bluegrass tunes (plus a few originals) and puts a contemporary spin on them without losing their vintage feel. The album [...] might be rooted in the past, but its branches point toward the future of this kind of music.” — Pulp on Linen of Words
“[Amity and Lone Pine] carries a graceful poignancy highlighted in Annick and Tessa’s beautiful vocal interplay and underscored by sympathetic instrumentation.” — Fifty3 Musings on Music on Linen of Words
“A pure love of traditional music and collaboration. [...] Reimagining her Appalachian heritage.” — State of Sound Magazine, The One to Watch Interview on Linen of Words
Release of Linen of Words mentioned on Pause & Play
Release of Linen of Words mentioned on De Nieuwe van Nierop
Release of Linen of Words mentioned on De Nieuwe van Nierop
"A lot of the energy lives in that in-between space: structured songs that open outward, and traditional material that gets reshaped in real time." -- Different Noises 145 Bob Osborne's World of Jazz on Linen of Words
About 2025-26 Artist-in-Residence position at Fairmont State
"[Odom's] work beautifully reflects the depth and richness of Appalachian culture." —Fairmont State President on Artist-in-Residence position 2025-26, WV News
"[Odom] is bringing a unique form of art to campus." --WV News on Artist-in-Residence position 2025-26
About Sweet Joe Pye's EP "Rise Early"
"The closer, Last Week’s Flowers with music and text by Annick Odom, was a stunning experimental work that was at times melancholic and at times almost surreal. Over a delicate and sweet instrumentation of percussion and bass, mezzo-soprano Kira McGirr sang heart-wrenching lyrics about longing for a lost loved one. At various points, bursts of joy came through, as McGirr described happy memories over bursts of percussive clicks." - Cleveland Classical, on She Scores Festival, Ohio Premiere of Last Week's Flowers
"No surprise that these three bring a unique trans-Atlantic slant to the old-time musical styles and the folkloric mountain culture, in which Odom clearly has immersed herself. [... Odom] has a sweet, engaging voice full of wistfulness and reverie. [...] All told, Sweet Joe Pye’s unique marriage of styles and influences filtered through old-time string band sensibilities makes for intriguing listening." - Bluegrass Unlimited, on Sweet Joe Pye's 2024 EP Rise Early
"The Flemish Odom provides a surprise at the beginning of the record with her Dutch-language vocals in an American context. It works great; the track about a relationship in difficult circumstances comes across as unpolished and authentic. [...] Beautiful ensemble playing keeps the song lively and interesting.
After this, Moonwalk is more subdued. A moody new dimension is entered. The sound of the mandolin and guitar drips beautifully through the song. This story about someone dying young by a bullet certainly hits home; a promise nipped in the bud. Sweet Joe Pye also hits the right chords here.
Double bass, elegant fiddle and perseverance color the combo Rise Early & Sweet Joe Pye. [...] The end of the song, formed by bass and fiddle, is like a playful wink.
Diverse atmospheres, traditional music populated by old and young souls; With Rise Early, Sweet Joe Pye has created a professional, beautifully balanced but above all honest and engaging EP." - Written in Music, on Sweet Joe Pye's 2024 EP Rise Early
After this, Moonwalk is more subdued. A moody new dimension is entered. The sound of the mandolin and guitar drips beautifully through the song. This story about someone dying young by a bullet certainly hits home; a promise nipped in the bud. Sweet Joe Pye also hits the right chords here.
Double bass, elegant fiddle and perseverance color the combo Rise Early & Sweet Joe Pye. [...] The end of the song, formed by bass and fiddle, is like a playful wink.
Diverse atmospheres, traditional music populated by old and young souls; With Rise Early, Sweet Joe Pye has created a professional, beautifully balanced but above all honest and engaging EP." - Written in Music, on Sweet Joe Pye's 2024 EP Rise Early
"On the first song Blote Voeten & Blue Crab the banjo is deeply resonant and, although it’s sung in Flemish, the mournful sounds carry the feeling through [...] If you don’t speak Flemish, the music is rich, melodious and old timey goodness just the same. [...] Moonwalk is sung in English and the music is full-bodied, vibrant, old-time Appalachia inspired. This is a sweet EP with exactly the kind of old-timey music we long to hear most especially in summertime." - Americana Highways, on Sweet Joe Pye's 2024/ EP Rise Early
"[...] the personnel is lovely singer and songwriter Annick Odom (fiddle, guitar), Henri Colombat (guitar, mandolin) and Lucas Henri (banjo, guitar, bass). Their EP Rise Early [...] comprises ‘Blote Voeten & Blue Crab’, Annick’s Dutch song and Henri’s extremely hummable tune; the beautiful ‘Moonwalk’, about a student of Annick’s who was killed in a drive-by shooting; and the pretty ‘Rise Early & Sweet Joe Pye’, satisfying pieces that nail down Appalachian down-home music just perfectly. FolkWales verdict: Thumbs up!"
"Structured around the singer Annick Odom, the Old time trio Sweet Joe Pye takes its name from a flower native to West Virginia, just like the latter. [...] The three tracks [...] were recorded [...] with a keen sense of personalizing the Old-Time idiom. Annick’s fiddle offers very subtle arrangements where we can perceive echoes of learned music, in particular jazz and chamber music, which enrich the reverse shot without ever falling into a form that is too talkative or getting lost in experimentation. At certain moments, this Old-time even seems not to have completely crossed the Atlantic. At the heart of the project, Annick's voice expresses great sensitivity with touches of mannerism, like an instrument in its own right with a strong personality. [...] The songs take the time to breathe, to set their tempo gently, original ballads that tell news stories, with an expression where feeling and proximity take precedence." - Le Cri du Coyote, Disqu'Airs, par Éric Allart on Sweet Joe Pye's 2024 EP Rise Early
"With music grown in the quiet hills of West Virginia to the bustling streets of Paris and the flat landscapes of the Netherlands, Sweet Joe Pye's newest album extends past geographical boundaries and genres. [...] From Odom's touching vocals and evocative fiddling to Colombat's talented mandolin and guitar work, and Henri's dynamic arrangements skills and virtuosity on banjo, guitar, and bass, every track resonates with the joy and camaraderie of musicians deeply immersed in their craft." - Keys and Chords, on Sweet Joe Pye's 2024 EP Rise Early
"A stunning testament to the enduring power and adaptability of old-time music. [Sweet Joe Pye's EP is] effortlessly blending the rustic charm of Appalachian fiddle tunes with the sophistication and intricacy of contemporary chamber music. At the heart of Sweet Joe Pye’s magic is the undeniable chemistry between its three members who have a knack for crafting intricate, unexpected arrangements. It’s a sound that’s at once familiar and wholly original, rooted in tradition yet unafraid to push the boundaries of what old-time music can be." - B-Side Guys, on Sweet Joe Pye's 2024 EP Rise Early
"If you’re looking for a sweet new roots sound, look no further than Sweet Joe Pye. [...] This is about as comfortable of a modern bluegrass sound as you’ll find and I’m happy to support it. [...] All told, this is an EP of songs unlike anything you’ve heard before." - Ear to the Ground, on Sweet Joe Pye's 2024 EP Rise Early
"Sweet Joe Pye, the name has something friendly about it, it turns out to be the name of a plant that grows on the banks of streams and forest edges. A danger for those who want a raked garden, a pleasure for those who like a soft purple but not quite lilac bloom in late summer.
First think for a moment. The EP ‘Rise Early’ was recorded in Paris. There is a Dutch song on it, sung with a Flemish accent and written by Annick Odom (vocals, violin and guitar). She comes from and grows up in West Virginia. In The Hague, she meets Henri Colombat (guitar and mandolin) from Maryland and Lucas Henri (bass, guitar and banjo). So he is originally from Paris? Doesn't matter, it is just very nice to see that 'musical migratory birds' meet and find each other in the love for 'Old time American Music' and classical (chamber) music. [...]
The first four songs of Sweet Joe Pye are on Bandcamp. Except for Annick Odom in a different line-up but very much worth listening to. ‘Rise Early’ is therefore a real disc with three songs. ‘Blote voeten & Blue Crab’ is a slow-bluegrass song. Does that work: a Dutch text? Yes, and certainly because it is sung in Flemish. The chorus “het boeit me niet, ik zie u graag” comes out nicely because of that. ‘Moonwalk’ has a strong melancholic melody with fine guitar and mandolin work. A dramatic story that I think does not need a description here. It is a story that you have to hear for the first time in the song itself. Sung high light with a folky vocal line. The title song starts with a double bass intro, the vocals join in and after a while together, the mandolin comes around the corner and a country folk song emerges with beautiful instrumental combinations and a cheerful note as a conclusion.
Three is too few, but why complain when it concerns fine songs. Soon (I hope) there will be a full album and on it the love for different musical styles will perhaps yield something very special." - Real Roots Café, on Sweet Joe Pye's 2024 EP Rise Early
First think for a moment. The EP ‘Rise Early’ was recorded in Paris. There is a Dutch song on it, sung with a Flemish accent and written by Annick Odom (vocals, violin and guitar). She comes from and grows up in West Virginia. In The Hague, she meets Henri Colombat (guitar and mandolin) from Maryland and Lucas Henri (bass, guitar and banjo). So he is originally from Paris? Doesn't matter, it is just very nice to see that 'musical migratory birds' meet and find each other in the love for 'Old time American Music' and classical (chamber) music. [...]
The first four songs of Sweet Joe Pye are on Bandcamp. Except for Annick Odom in a different line-up but very much worth listening to. ‘Rise Early’ is therefore a real disc with three songs. ‘Blote voeten & Blue Crab’ is a slow-bluegrass song. Does that work: a Dutch text? Yes, and certainly because it is sung in Flemish. The chorus “het boeit me niet, ik zie u graag” comes out nicely because of that. ‘Moonwalk’ has a strong melancholic melody with fine guitar and mandolin work. A dramatic story that I think does not need a description here. It is a story that you have to hear for the first time in the song itself. Sung high light with a folky vocal line. The title song starts with a double bass intro, the vocals join in and after a while together, the mandolin comes around the corner and a country folk song emerges with beautiful instrumental combinations and a cheerful note as a conclusion.
Three is too few, but why complain when it concerns fine songs. Soon (I hope) there will be a full album and on it the love for different musical styles will perhaps yield something very special." - Real Roots Café, on Sweet Joe Pye's 2024 EP Rise Early
[...] The American French-oriented folk band with Annick Odom, Henry Colombat and Lucas Henri know how to find a form of country and folk. The mini album has 3 songs that meet this requirement. The classic folk inspired by the music [of the Appalachians] with violins and mandolin brings the songs [... in] ‘Rise Early’. It is especially nice that young people embrace this folk sound so that it does not get lost. Making this album brings new inspiration for a sequel so that more young people are inspired by it. Musically it [...] has the charm of the old classic folk sound." - De Muziekplank, on Sweet Joe Pye's 2024 EP Rise Early
"Sweet Joe Pye blend old-time charm with new original songs [...] A cross-continental string band trio known for their fusion of Appalachian tradition and contemporary chamber music, Sweet Joe Pye crafted this three-song set during a one-day studio session in Paris. [...] From Odom’s touching vocals and evocative fiddling to Colombat’s talented mandolin and guitar work, and Henri’s dynamic arrangements skills and virtuosity on banjo, guitar, and bass, every track resonates with the joy and camaraderie of musicians deeply immersed in their craft. Inspired by the “crooked” nature of many fiddle tunes and songs, Colombat’s fiddle tunes and Odom’s original compositions exhibit intriguing variations in meter, adding depth and complexity to the tracks. Odom infuses her compositions with a spirit of storytelling learned from her experience growing up and living in West Virginia, where she has been an apprentice to ballad singer Phyllis Marks and fiddle player / folklorist Gerry Milnes." - Tinnitist, on Sweet Joe Pye's 2024 EP Rise Early
"This old-time folk trio is named after a flower that grows along many roads in West Virginia. It is made up of an international cast including Annick Odom (Belgian-American), Henri Colombat (French-American), and Lucas Henri (French)." - Saving Country Music, on Sweet Joe Pye's 2024 EP Rise Early
Other Press"Odom, a Belgian-American multi-instrumentalist who has performed nationally and internationally, blends traditional West Virginian ballads with original compositions and newly commissioned pieces. She’ll also present an array of 'crankies,' a form of hand-cranked, panoramic-moving storytelling scenes, during her performance. 'Little kids are especially going to be enthralled by that,' Warren said."
- Dominion Post, on a solo performance at the Gabor Folklife Center in Fairmont |
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"Annick Odom's hauntingly beautiful new work “Seven Bones” sets the scene for a crisp fall day. Equally inspired by Appalachian and contemporary classical music, this West Virginia ghost story deserves an immediate listen." - Classical Post, New York, October 22, 2020
"When everyone sits down, Annick tells about her birthplace: America, West Virginia. She can tell stories: every song is an adventure because of her experiences and her view of the world where she grew up. The rest of the set lets you sink into feeling like you're in a Western.” - 3 voor 23 VPRO, The Netherlands, April 16, 2019
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Diario, Chile, 2018
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Greening Detroit, USA, April 12, 2016
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Dominion Post, USA, 2018
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Muse, USA, 2017
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Confucius Institute, University of Michigan, USA, 2014
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