"New to the big city and living alone in a Pioneer Square loft, Davis turned to songwriting. She posted home recordings to her MySpace page, and unexpectedly Seattle took notice: She didn't have enough material for a record, but she was being asked to play shows. Davis had to decide, again, if music was the right career for her. This push and pull between obligation and freedom, and between classical sounds and modern pop, creates tension in Davis' artful, harmonic music. It shows up in the lyrics to "Proof" on her album We; Camera: "Don't want to tell you nothing/Till I am telling the truth." Davis warbles in high registers on the album's title track, but on "These Rocks," she sings the way you imagine she would alone in her car: relaxed and steady. Within a single song, her piano fluctuates between energetic verses and sparse refrains."
"Shenandoah Davis moved to Seattle about a year ago, bringing her solo music project that blends together "classical piano, folk, klezmer, and ragtime." Now, fans of Joanna Newsom have a local act to love (although Davis doesn't play the harp). As her description promises, the song "We, Camera" involves vintage, plinking piano pulled straight from what you'd expect to hear booming from an early-1900s-era bar. The piano takes a more classic and dramatic turn in "Our Favorite Idols," boasting a sweeping, beautiful tone. The star of every song, though, is Davis's unique voice that is as hard to like as Newsom's. But after a few listens, it's easier to embrace its "always on the verge of breaking" tone, especially when paired with music just as peculiar."
"This fall, Seattle-based singer-songwriter Shenandoah Davis used the fundraising platform Kickstarter to help pay for her second full-length album, and she had no problem meeting her $5,000 goal. In addition to being an impressive solo performer (with a degree in opera singing, by the way), Davis also plays keyboards in Grand Hallway, fills a number of roles in the Seattle Rock Orchestra (everything from vocals to piano to percussion), and has collaborated with the Portland Cello Project. She is a beloved presence in the Northwest music scene. Now that Davis has met her financial goal, we can expect the new record in 2011, over two years since she made her debut. Surely we can forgive her for taking so long—she's been busy—but I can't wait to hear the finished product."
"Since making the initial move, she's played shows all over the country, traveled to SXSW in Austin, and even took a couple of tours abroad, one to Europe and another to Japan where she sang alongside Tomo Nakayama of Seattle's Grand Hallway. She also released the gorgeous We; Camera, which appeared as a limited hand-made CDR and has since been reissued on cassette by Off Tempo Records. More recently, Davis has been hard at work for the past seven months recording her upcoming full-length release, The Sinking of our Monument, which is tentatively slated for release this March. The production of that disc was funded by a successful Kickstarter.com program that earned $6,000 towards studio time. Davis's upcoming visit -- the key-tickling singer is heading back to the area for a trio of shows -- finds the songstress on a bit of a break from her time in the studio. But more than that, Davis says she excited for her return to Colorado where the arts are flourishing."
"From the fertile soil of Cascadia* sprouts yet another very promising band, although Miss Davis might not generally call herself a ‘band’ because it is, in fact, just her. Inevitably it’s all rather low-fi, but it makes a virtue of this rather than a failing. For the most part she tends to play the piano, and sing along in a rather flighty, theatrical voice. There are similarities to the likes of Feist, St. Vincent and, to a lesser extent, Alela Diane in these songs, but the eccentricities in the delivery are perfectly restrained which makes it rather more enjoyable than those first two ladies for the likes of me."
“Shenandoah Davis' voice tends to linger in the room long after her recordings have stopped. She's bound to leave you longing for more of the drama she creates when her otherwise demure croon scales the cliff face of the higher registers, and then rappels back down with a stunning restraint. In fact, the Seattleite's first full-length, We; Camera, is teeming with these dangerous-but-beautiful moments that suck the breath right out of you. Clearly a classically trained pianist, effortlessly blending ragtime and blues with the frantic trills of Chopin compositions, Davis could easily garner comparisons to Joanna Newsom and Regina Spektor, but that just seems outright lazy. Instead, we'll say it's best to go and see for yourself, for talent like hers is meant to be experienced head-on.”
"For someone who was homeschooled by her mother in the Adirondacks of upstate New York, her quiet, layered indie-folk music doesn't seem such a stretch, nor does her affinity for her adopted hometown of Seattle. Though she may have renounced a career that would have seen her standing in a recital hall singing in German or Italian, that operatic training is nonetheless still there. And it's clear to anyone with half an ear that she's had it. When she reaches a high register, instead of going all whispery or conversely, yelling, she floats into it comfortably. The powerful vocal projection of an opera singer is there, but it's reigned in and softened as Davis wraps it around."