Hannah Delynn - Trust Fall (2025) Hi-Res

This 11-track album by Nashville-based artist Hannah Delynn is her debut. Trust Fall, produced by Maya de Vitry (harmony vocals) assembles the strong themes that touch on emotional feelings (grief, loss, betrayal & heartbreak). Hannah integrates each piece with beauty, love, generosity & friendship, though song-wise, it’s not exactly new. Yet, her sincerity is real.

Recorded in Monteagle, Gallatin & Nashville, TN, Hannah interprets with optimism, which comes close to the peace & love push of the ‘60s counter-culture ala the folkier Laurel Canyon Joni Mitchell. Hannah’s songs clearly convey hope rather than pushing a lofty narrative. Life’s issues are consistent, scary & concerning. So, there’s a lot to sing about. Hannah offers a grain of optimism, musically medicates, & offers reasons to be brave.

Delynn uses vulnerability to reach others. However, she shouldn’t forget how some major artists (the late Kris Kristofferson, for one) warned Joni Mitchell when she released her album Blue not to put too much out there that’s very personal or revealing. Walk that tightrope cautiously. Her intentions are honorable. I think Hannah’s heart & voice are in the right place. She’s not a sugar-coated singer-songwriter rehashing themes like so much fruit – disposable product.

Hannah’s vocals are superior & though she has a good range, she more often relies heavily on feeling rather than showboating. “For The Record” & “Leaf On a River” are good. “Blood Alone” is absorbing. While none of the melodies are as powerful as Mitchell’s “Both Sides Now” or Judy Collins’ “My Father,” perhaps Hannah just hasn’t arrived at that classic song junction yet. I’m patient. Her intonation & phrasing are sophisticated & distinguished.

“No Small Thing,” despite its Country-leaning, has an opalescent urgency similar to songs by Heather Nova (“London Rain [Nothing Heals Me Like You Do”], & “Heart & Shoulder”). The songs aren’t melancholy, though she does float through her songs (“Wishes”) with a voice & acoustic guitar in a Nick Drake realm. Songs can be sublime. Hannah does score with some mainstream swipes – “The Rooster’s Dead.” And her attractive voice often has a soft glow.

Her most commercial attempt is “Jealousy” – more forceful, & in the tradition of the late Judee Sill (“The Kiss”). Hannah seems to take her cues from her spirit. A place where a singer like the jazzier Julie Tippets (“Sunset Glow”) takes refuge. In a musical temperate zone of her own. I think they call it…originality.