B-Side Guys

Shannon Smith’s debut album “Out of the Shadows” makes a bold statement before you hear a single note through its deliberate distribution strategy. Released May 1st exclusively as a physical purchase (CD and vinyl) and direct digital download, with streaming services deliberately excluded until later this year, Smith prioritizes intentional listening over algorithmic convenience—a refreshing approach that honors the album’s artistic integrity.

This distribution choice perfectly complements a collection that champions authenticity over immediate gratification. Recorded primarily at the intimate Sundown Studios with an impressive roster of collaborators, “Out of the Shadows” presents itself as a complete artistic statement rather than disconnected singles—a musical journey deserving full immersion.

Opening track “Dance The Night Away (Do Do Do Do)” establishes the album’s sonic foundation—a vibrant blend of 70s pop sensibilities and contemporary Americana production. Smith’s vocal performance radiates genuine joy, complemented by warm horn arrangements that recall classic Stax recordings while maintaining modern clarity. The memorable “Do Do Do Do” hook functions not as empty repetition but as an expression of wordless exuberance. As Smith shares in the album notes, this track made him “shed a tear when recording” because of its pure positivity and intention to uplift listeners.

“Till I’m Home” shifts toward more contemplative territory, its gently rolling guitars and comforting bass lines (provided by Ben Franz and Lukas Drinkwater) creating the perfect foundation for Smith’s exploration of emotional and physical distance. The song gains additional resonance through its biographical context—written during relationship difficulties with partner Helen Townsend (who contributes backing vocals throughout the album). Smith vulnerably admits the song taps into “asking her not to give up on me,” revealing the personal investment behind the music.

“I’m Gonna Change (Extended)” emerges as one of the album’s standout moments, its redemptive folk-rock arrangement showcasing Sophie Curtis’s cello and Pascale Whiting’s violin to stunning effect. Smith notes this is “one of the songs I’m most proud of,” encouraging listeners to experience it with good headphones to appreciate its layered complexity. The emotional weight in Smith’s delivery transforms universal themes of transformation into specific, lived experience.

“Valentine’s Day” provides a tender romantic counterpoint, its country-tinged swing and gospel-influenced backing vocals creating warmth that envelops the listener. Smith considers working with The McCrary Sisters “definitely a career highlight,” their contributions adding depth and authenticity to a song about acknowledging one’s role in relationship difficulties while affirming true love.

Mid-album track “Break Free” serves as the thematic fulcrum, building from quiet contemplation to cathartic release. Originally inspired by a friend’s courage to cancel her wedding, the song evolved into a broader meditation on personal liberation. As Smith explains, the meaning continued to develop long after composition, ultimately addressing “breaking free from those things about yourself that keeps you trapped.”

“Started Off With Lies” introduces welcome rhythmic intensity, nearly becoming an album casualty before producer Elliott Smith encouraged further development. The result justifies this persistence—propulsive drums and honest lyrics create tension that resolves through self-examination rather than easy absolution. Smith notes, “It reflects the things I found out about myself when I took the time to look.”

“Feel Good” delivers precisely what its title promises, its funk-influenced groove and Bill Rogers’ saxophone solo creating instant mood elevation. Smith reveals it began as a guitar warm-up riff before developing into a philosophical statement about finding answers within ourselves rather than through external substances—a thoughtful commentary beneath its jubilant surface.

“I Do” provides the album’s most overtly romantic moment, written the night before Smith’s wedding. This genuine origin story explains its unguarded tenderness, and Smith has since had the privilege of performing it at friends’ wedding ceremonies—a testament to its emotional resonance.

“Every Single Day” celebrates love’s daily expressions rather than grand gestures. As Smith reflects, “It’s the little things we do each day for our partner that keeps the love and appreciation in the relationship alive.” Bill Rogers returns with another exemplary saxophone solo, demonstrating the collaborative chemistry that elevates the entire project.

Closing track “Light on the Hill” provides perfect emotional resolution as a tribute to Smith’s uncle Rob. “He was like a big brother to me,” Smith shares, the song transforming personal grief into a universal message about finding illumination within darkness. This provides a thematic bookend to an album that begins in exuberance, explores various emotional territories, and concludes with hard-earned hope.

Throughout “Out of the Shadows,” Shannon Smith demonstrates remarkable artistic integrity, creating music that values emotional honesty over commercial calculation. For listeners willing to invest in the physical album or direct purchase, extended versions of select tracks offer additional rewards that won’t appear on streaming platforms—a fitting approach for a collection that reveals new depths with each attentive listen.