Singer/songwriter, pianist, and guitarist Katy Kinard is a faith-driven lyricist who lives in the space between trust and doubt, simplicity and cynicism. Her influences range from the vocal and lyrical styles of Nichole Nordeman and Sarah McLachlan, to the guitar-driven Sheryl Crow vibe, within the pop/rock and folk genres. Katy attended Belmont University in Nashville, TN, where she studied Commercial Music and Music Business. She is a winner of the 2013 International CWIMA contest, the '09 Independent Music Awards Popular Vote, and Embassy Music's '05 regional pick. Katy's song "World's Largest Peanut" took first prize in the 2009 International Acoustic Music Awards folk category; her song "Sunshine," second. She works alongside New Rave Artist Agency organizing tours in multiple states and has recorded and co-produced three albums: "Headed Back" (2005), "You're Still Better" (2007), and her latest: "Lullaby Hymns: the weary soul.' REVIEWS 'What a beautiful CD! Powerful, smooth vocals with so much personality and soul. Tight band with a sound all their own, fresh and energetic... Clear and professional recording quality, mixed perfectly... Just enough effect for interest but it still feels live. Thanks to Katy for sharing her talent with the rest of the world.' -Rick Beresford Songwriting coach at Belmont University's School of Music in Nashville, TN ~~~~~~~~~~~~~~~~ "Katy's music is blessed and heartfelt--introspective, and connects at the heart. Her passion is infectious and true!" -Stace Whitmier, Music Director, WAY FM radio ~~~~~~~~~~~~~~~~ "Katy's music-an exploration of her faith and observations on life-is written with a great deal of attention to lyrical creativity and the building of appealing melodies!" -Adrian Stanley, Music Critic, The Gazette ~~~~~~~~~~~~~~~~ 'Headed Back is a quantum leap ahead of Katy's eponymous CD, especially when it comes to the overall arrangements, production elements, and the confidence in Katy's vocal delivery. She and Bill Renfrew obviously spent a lot of time dissecting the dynamic of each song from the stripped-down originals, and then added considered elements to truly bring them to much fuller vitality. WHEN YOU FOUND ME: This is certainly a great way to start the album, showcasing all the best elements of Katy's songwriting, production, and setting the tone of the story that will unfold in subsequent tracks. C.S. Lewis would be proud of the line: 'even happiness would envy all the joy.' Very strong. TO BE FREE: A great choice as track 2. Helps to show where Katy's faith search began to take some different directions. Terrific hook. Like the way the bridge drops down to a real pensive state before building back up. The lower BGV's sung underneath the call-backs in the final chorus are brilliant. Favorite lines: 'every cell rebels against your allegiance,' 'lift me up when you've had enough' (I envision a parent lovingly picking up a crying toddler), and 'every tear will mend somehow.' Torn fabric is a strong metaphor that is underused. SPRING: Achingly melancholy. If a lullabye helps put one to sleep, then what helps us awaken...a 'lulla-hi'? (wink) Lovely string arrangements, especially enjoyable is the grainy, deep timbre of the baritone violin-nearly sounds like a cello. Adding the birds was a nice touch. THE WAY YOU LOVE: Katy does a power ballad! Break out the lighters and start to sway! The arrangement really makes the song so much more vigorous. Favorite lines: 'I love the way you change the name of everything you touch,' 'I love you for your zeal to keep me searching still,' and 'I love the way the price you paid was just enough' (a couple more internal rhymes...Katy does this several times throughout the album...am a big fan of this). 'Just' in the last line could also mean 'justification,' which is a clever play on words in the context. Nice use of the piano coda at end, which then segues almost seamlessly into.... HI: Something I admire about Katy's songwriting is that some of the melodies and arrangements sound more like something lifted out of a musical drama. She doesn't always use more traditional formats for in structure. Hence, the unpredictability of her approach is fresh and serves the stance she's trying to project in the narrative. There's a tension that gives sinew to her lyric. FOR YOU: I'm sure Katy labored hard over this lyric...congrats to her for turning out three sections that tie-together nicely. The slow-down in tempo at the end of the second chorus is quite effective. The final stanza is such a nice twist, taking the questioning/frustration of giving up a loved one from Man's perspective to God's. But overall, there's a resolve to the piece that keeps it from stumbling under the weight of heavy-laden questions. ISOLATION: One of my favorites. Poses the very tough questions regarding fear, the primary one being 'so is it really up to me' to turn from it? Good line: 'all around me lies the faith I used to feed.' Again, the dramatic use of slowing the pace of the song down and building it back up for the big crescendo finish serves the drama of the story-line well. WEDDING SONG: Another bittersweet ballad. Nice angle of looking at our waywardness from Christ's perspective...how He is longing for 'the good old days.' Top lines: 'every step made you cry as you met me there,' 'like a candle falls in flames, you surrendered all your shame,' and 'child of mine, why do you now hold onto blame?' STILL A DREAM: So fond of the jazzy groove, and Katy's twisty vocals. The piano/violin blend dances over the top and is so lilting. The three verbs of 'speak,' 'know,' and 'love' at the end of each of the 'I don't want you to tolerate me' triplets really summarize the song. I think the ultimate desire of human existence, both with each other and with God, is to be understood. Perhaps as much as Katy has directed these thoughts towards race relations, it is also applicable in her wrestling with transcendence. IS GOD GONNA SAY: The heart-rending honesty of this song makes it one of the highlights of the collection. The instrumental break serves the song well-adding to the ache. 'What have I done but stolen my innocence, broken my heart...believing myself to be wise-I am a fool.' Powerful. David, Job, and even Christ asked these same hard questions 'Lord, why have you forsaken me?' before eventually committing themselves into God's ultimate will despite their private (and even public) misgivings. HERE: This seems to be an adjoining piece to 'Is God Gonna Say'. A postscript of sorts. The primary question is still voiced 'it's been hard to love the choice I chose, when it seemed to me you'd all but disappeared;' However, like a solid David Wilcox song (which this reminds me of at times) she rounds the corner in the strong second verse with the tender and vulnerable eaglette metaphor. WORLD'S LARGEST PEANUT: What a terrific close to this collection! It has some of the most profound musings of Katy's current state, and she's crafted them skillfully. Whether it's fun observations like 'fruit stand scented skies--they ride along with me,' or 'precious ones stick out their tongues and pass me by' (yet two more internal rhymes); or deeper contemplation like 'who'd want to miss a life worth living if it's worth living right?--With justified peace on the inside,' or 'now, every shaky ride might just be the side grate saying 'stay on the interstate-there's so much joy this way...' so much joy,' it appears Katy has found the balance needed at the times when the tight rope of her reflective life becomes precarious. In summary, it seems the upshot of Headed Back is 'fear versus faith.' Taken as a whole, I think listeners will not only hear Katy's heart, but will sense the same yearnings within their own. By my accounting, that defines good art.' -Mark Hollingsworth Manager of Radio Marketing, Compassion International Former manager of Petra, Sixpence None the Richer, and SmallTown Poets.