Skye in LA Feb. 24 and 25

SKYE Tour Dates
2/20:  New York, NY @ Joe’s Pub
2/21:  New York, NY @ Joe’s Pub
2/24:  Los Angeles, CA @ Hotel Café
2/25:  Los Angeles, CA @ Hotel Café
 
Shortly after releasing her third studio album, Back To Now on [PIAS] America, SKYE will take her intoxicating live performance on the road this February with her four date mini tour, stopping in New York & Los Angeles.  Today, the Morcheeba frontwoman is also sharing the radio edit of the lead single “Featherlight,” off her latest album, flush with electro hooks & poppy splendor. 

Back To Now sees Skye on assured form in the follow up to 2009's Keeping Secrets.The album began life in similar fashion to her two previous releases, in partnership with her longtime collaborator and husband Steve Gordon. However, in contrast to Keeping Secrets and Skye’s solo debut Mind How You Go, guitar and piano were laid to one side and tracks instead evolved from the early barebones of beats and loops. Aware of the potential of the raw material she had written, Skye specifically sought out the production services of Grammy Award winner Stephen 

Fitzmaurice (Paloma Faith,Metronomy and Professor Green); ‘I’d worked with Stephen before when he mixed (previous single) ‘Love Show’ and knew he’d be able to take these new songs to the next level’.
 
Fitzmaurice’s crisp production values couple with Skye’s ethereal voice to impressive effect, across a distinctly nocturnal soundscape. Synths bubble across early album highlights ‘Sign of Life’ and ‘Featherlight’, both anchored by Skye’s effortless vocals, whilst ‘Every Little Lie’s’ chorus mines a compulsive vocal hook to memorable effect.
 
However, Back To Now is by no means an exclusively synth propelled album, with strings employed to distinctive effect on ‘Bright Light’ and the possessive plea of ‘Nowhere’. Yet in all cases, it is the character and range of Skye’s vocals which underpins Back To Now. Layered on ‘High Life’, providing a tender counterpoint to the disquieting synths of ‘Dissolve’, and gliding across the percussive loops of ‘Little Bit Lost’, it is an ever arresting focus point.