About the artist
First off, there’s her voice. If an angel were to fall and land herself smack-dab in the middle of the American dream, you might get a voice like this—a combination of earth and ether, delicacy and might, moonshine, mason jars, and cotton candy. From the first syllable, her sound captivates.
But Lynne’s voice is only the start; backing its appeal is a lifetime apprenticeship to the craft of song. With titles like “Not My Cowboy” and “Wheels” Lynne’s tunes showcase both her down-home sensibility and her smarts with naturalness and apparent ease.
Don’t be fooled; Lynne’s path has hardly come easy. First off, she’s from Denmark–Haslev, Denmark—a small town with even smaller opportunity to sing and Denmark itself is hardly a hotbed for Country-Western. One would never guess from Lynne’s cheerful drawl that until age twelve, she’d never even heard contemporary country. Home sick from school, she stumbled upon a rare televised country showcase. Faith Hill was singing “Wild One”, a song with which Lynne identified. She was hooked. Country music was the first place in which Lynne sensed that wholesomeness and freedom could co-exist. Elsewhere in her life, freedom was scarce.
The oppressive religious upbringing of Lynne’s childhood forbids most celebrations outside its insular circle. Though Lynne practiced with her school choir, she was rarely permitted to perform. Her upbringing also stifled her in more subtle ways. For one thing, drawing attention to oneself was frowned upon and with a voice like Lynne’s this pretty much means keeping quiet. So in choosing her career, Lynne pursued other, quieter paths with outward success. First she tried living as a painter in Barcelona. It didn’t satisfy her long. Next she scaled the corporate ladder, working as the project manager in a large firm, but this too proved unfulfilling. Finally, Lynne edged back toward her original love, music, joining the prestigious Conquerors choir in Copenhagen. It was here that Lynne sang Kirk Franklin’s “Conquerors” to the admiration of Kirk Franklin himself.
Gratifying as this was, it wasn’t a complete use of Lynne’s talents. It took a larger personal crisis to bring her fully into her own. Lynne’s religious background had also conditioned her to relinquish her autonomy and not surprisingly, she found herself in the grips of an abusive relationship. A violent episode proved to be the turning point; she extricated herself from the relationship, and resolved to stop holding herself back.
The next chapter of Lynne’s journey could have been lifted straight from the pages of Eat Pray Love. She flew to India where she lived in an ashram. Weeks on end of thirteen-hour-days moved her through various forms of detox: fear, anger, exhaustion and a host of physical reactions. Eventually the detox ran its course and Lynne emerged energized and at peace. The direction to come to America and make her own music announced itself crystal clear, and that’s exactly what she’s done.
Within a year of her arrival, Lynne has planted herself center stage in Seattle’s music scene. Using the popular crowdfunding platform Kickstarter, Lynne funded her first recording by over 200%. With local audiences comparing her to such luminaries as Loretta Lynn, Bobbie Gentry, Tanya Tucker, and even the Charlie Daniels Band, this kind of success is understandable. Her highly anticipated debut EP, entitled Spiritual Cowgirl is now available for purchase. Between her sunny lyrics, strawberry blond curls, and honeyed voice, Lynne’s output already evidences an implicit and consistent color scheme.