Paul Thorn is able to breathe in the air around him, everyday and commonplace, and exhale something original and often side-splitting funny. It’s a kind of genius, and it’s there plain to see, in his music, his art and through his performances, which not only showcase his chops as a singer-songwriter, but as a pitch-perfect improv comic. His audiences love it. And they come back for more because no two Paul Thorn performances are alike. We live in a world where the terms “artist” and “genius” have been rendered meaningless through overuse. To use either in describing Thorn, though, is not overreach. Pick up any of his dozen or so CDs. The evidence is plain to see. Just listen. The scenery of Thorn’s rural South is changing. The trailer parks, gravel roads around Tupelo and high school beauty queens flicker in the rear-view mirror. Two years ago, Thorn returned to his early gospel roots with the release of “Don’t Let the Devil Ride.”
The New Jersey songwriter might have started out banging on doors, braving New York’s blues clubs, playing piano until her fingers bled, and winning over the city one show at a time. But lately, the multi-instrumentalist has raced through career milestones at a rocket pace. There was her Blues Blast and IBMA-nominated 2018 debut album, High Road. Her international breakout on Ruf’s 2022 Blues Caravan Revue. Her starburst of media acclaim, including Henry Yates of Classic Rock, NME, and The Guardian, saluted “a runaway talent you need to keep up with.”
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