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Earlier this year, I attended a Compliments of Gus concert. Up first was Claire Hazzard, one of numerous solo acts in the Australian scene. As she seated herself before the mic, acoustic guitar in hand, I was already impatient for the main attraction to take the stage: what could this be but another poppy, un-creative, sure-to-be-flop girl with good intentions but not the mind or skill to be a success. However, as she comfortably began strumming the guitar and singing her songs, my attitude changed. The girl obviously knew her way around the fretboard, and could pull off some nice vocal stints. After an extended set, I vowed to introduce Phantom Tollbooth readers to this gifted singer/songwriter/guitarist. 

Claire Hazzard comes almost four years after the superb 1996 debut, The Goodness & Severity, an album which went largely unnoticed, being suppressed by more commercially-minded releases, as often happens in the tough Australian Christian music scene. Since The Goodness & Severity, Hazzard has noticeably matured in her songwriting and vocal deliverance. While the arrangements on her debut were masterful and proved Hazzard to be an exceptional songwriter, her vocals were still a little on the weak side. Time has allowed for her voice to develop and Claire Hazzard showcases both her freaky vocal antics, ala Fleming McWilliams, and the sweet and soothing, almost Jewel-like side of her voicings. Not only have her vocals matured, she has also taken a more radio-friendly spin to her rootsy folk music. The  Celtic violins of the debut have disappeared to allow for a more laid-back acoustic pop album, in much the same vein as the Paul Colman Trio and other acoustic acts who have sprung up in the Aussie scene. Thankfully, the radio-friendly aspect of this E.P. has not seen innovative arrangements cut from the roster, and Claire Hazzard is in no way a ‘poppy’ album.

However young Hazzard may have been on her debut, she did not show it lyrically. As on The Goodness & Severity, Hazzard’s lyrics are engaging, and sometimes confronting, but always well-written. ‘The Field’ is a great example of her creativity. The song addresses hypocritical Christians who talk about reaching the saved, yet never actually go out and try. As the track evolves, we come to see how we ourselves are often guilty of this, and some of the excuses we make to ourselves and others. Along comes the last verse, with the last excuse: “First I’ll listen to the end of this song”. Abruptly, the music ends. No more excuses!

The commercial focus of Claire Hazzard has paid off. With two highly successful radio singles, Hazzard has found herself being one of the most played Australian artists on Christian radio. Hopefully, the profits made off this wave of commercial success can be put into making a full-length album. With a decent budget, who knows what this talented young lady might have in store for us!

Eric Daams 06/27/2000