Mo Kenney in Australia

Alt Media Australia Review

“Kenney is obviously a talented songwriter, as evidenced with the cutting lyrics on Sucker and Déjà Vu, and this puts her ahead of the pack. Simple arrangements from producer Joel Plaskett and Kenney – as the only musicians on the album – make this a solid offering from a young talent.” – Alt Media (AU)

Rhythms Magazine review in Australia

Mo in Australia

“Singer-songwriter Kenney falls pleasingly between new folk and roots, though a recent award landed in the pop category. Pigeonholes though are as irrelevant to the portrait of Mo Kenney as they’ve been to k.d. lang or Jeff Buckley. If I could think of a better word than ‘pure’ to describe her voice, I’d use it. And Kenney really knows how to use her gift – from playfully chiming to soaring with barely contained passion. She’s no imitator, but recalls the aural effect of Nico or Cat Power. An aft-wounded heart is laid bare in lyrics that are revealing yet restrained belying Kenney’s youth. Her acoustic guitar and piano are joined by producer Joel Plaskett who played on and co-wrote a couple of tracks. Kenney’s early heroes included Zeppelin, Floyd and Sabbath inspiring an earthy edge from outside the acoustic zone. She valiantly covers David Bowie’s “Five Years” pretty much making it her own. The sweet and breezy “Eden” could easily slip into the Juno soundtrack. “The Great Escape” too is bouncy yet subtly ominous and electrified. As humble support act at a concert in Canada, Mo Kenney achieved the almost impossible – a standing ovation. At 23, Kenney presents a stunningly beautiful album promising a lifetime of delights with each future release.” – Rhythms Magazine (AU)

Mo’s first review in Street Press Australia

“Good gracious, what heavenly planet did this little lady with the big voice fall from? The sometimes brusque, often starkly gentle beauty of this pint-sized Canadian songstress’s vocal is disarming enough, but coupled with capricious and razor-edged lyrics in Sucker is almost too much. Scene Of The Crime slices an already buzzing atmosphere with a dancehall, moody waltz, and The Great Escape meanders playfully around her girlish piping before turning up the heavy notch. It’s a rare and delightful treat when something aligns to grant a treasure such as Kenney.” – Carley Hall, The Music (AU)