SOCCER MOMMY announces UK instore performances ahead of new album release

Soccer Mommy, the musical project of beloved Nashville songwriter and musician Sophie Allison, recently announced her staggering new album Evergreen. Lead by new singles ‘Lost,’ ‘M,’ and ‘Driver,’ her latest material has candidly reflected on the many forms that devotion can take.

Today, Soccer Mommy announces news of two UK instore performances, set to take place in the run up to the release of Evergreen.

Allison began her career as a teenager, sharing music on Bandcamp in near-demo form. Recent years have found her enjoying synthesizers and experimental production, thanks to endless studio resources newly at her fingertips. But when Allison wrote the songs for Evergreen, she knew they called for a different touch. Songwriting has always been Allison’s way to sort through life and ground herself, so – as she crafted this album in the wake of a profound and personal loss – it felt important to keep these songs raw and relatable, unvarnished and honest. By opting for more organic production and shining a spotlight on her songwriting, Allison did just that. The result is Evergreen, a sonic return to Soccer Mommy’s roots, but recast on a cinematic scale with the help of acoustic guitars, lush strings and flutes. Nothing overindulgent, everything real.

Evergreen was made by Allison in Atlanta’s Maze Studios with producer Ben H. Allen III (Deerhunter, Animal Collective, Youth Lagoon, Belle and Sebastian), and will be released on October 25th via Loma Vista Recordings.

More on Soccer Mommy & Evergreen:

Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting and beloved artists of the last decade. Allison has used Soccer Mommy’s songs as a vehicle to sort through the thoughts and encounters that inevitably come with the reality of growing up. After all, Soccer Mommy began as a bedroom-to-Bandcamp exercise with teenage Allison posting her plaintive songs as demos. Over the years, though, she has often enhanced that sound, using the endless production possibilities, newly at her fingertips, to outstrip singer-songwriter stereotypes. The records would start with songwriting’s kernels of truth, and she would then imagine all the unexpected shapes they could take. Every Soccer Mommy record has felt like a surprise.

On Soccer Mommy’s fourth album, the tender but resolute Evergreen, Allison is again writing about her life. But that life’s different these days: Since making her previous album, 2022’s Sometimes, Forever, Allison experienced a profound and also very personal loss. New songs emerged from that change, unflinching and sometimes even funny reflections on what she was feeling. (Speaking of funny, this is a Soccer Mommy album, so there’s an ode to Allison’s purple-haired wife in the game Stardew Valley, too.) These songs were, once again, Allison’s way to sort through life, to ground herself. She wanted them to sound that way, too, to feel as true to the demos—raw and relatable, unvarnished and honest—as possible. The songwriting would again lead where the production would follow.

Evergreen is the absorbing result, an 11-track seesaw of articulate feeling that suggests Allison is driving you through the streets of her native Nashville, the Tennessee sun bright as she plays you a tape of songs she cut to document those very dark days. The mission for the album was to take life’s moments, frame them without obfuscating the emotional burdens or gifts that anchored them, and to let the lyrics and moods speak for themselves. Allison rendezvoused in Atlanta with producer Ben H. Allen III and told him she wanted to elide synthesizers and digital flourishes this time, favouring acoustic guitars, rich drums, and interweaving flutes. They built basic tracks for half the album as a pair in Allen’s Maze Studios before ushering in her touring band to add more. There were real flutes and real strings, just as Allison had imagined. As the layers and ideas mounted, Allen and Allison focused on peeling them back, on leaving subtle touches that never crowded the sentiments. The songs retain the spirit of the demos, candid and direct.

Allison assembled Evergreen as she crept into her late 20s, that tenuous time where the travails of adulthood suddenly look much closer than the playground of childhood. And during the three-year span since finishing Sometimes, Forever and beginning Evergreen, Allison learned loss is not a monolith. Some days are brutal and others are beautiful, as you take what you have gained from someone who is no longer here and try to carry it ahead, a talisman for whatever may come. “She cannot fade/She is so evergreen,” Allison sings in the devastating but strangely affirming title finale, strings sighing beneath the brush of her acoustic guitar. It feels like a lucid note to self. And that, after all, is where these songs started—Allison, writing songs for herself that documented what it was she was going through, just as she’s always done.

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