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April 30, 2018


Working once again with life and music partner Lawyer Dave, Golightly crafts a set of twelve songs that combine the spirit of punk with the authenticity of rural Americana.

The Big Takeover premiered a track :

LOS ANGELES, Calif. — A quick look at the song titles on Holly Golightly & the Brokeoffs’ Clippety Clop reveals a clear, unifying theme: “I Ride an Old Paint,” “Mule Skinner,” “Pinto Pony.” But at its core, Golightly says that Clippety Clop is simply “what came out best from a batch of songs we wanted to do.”

London-born Golightly got her professional start as a member of Kent, England’s Thee Headcoatees, a garage rock combo formed as an opening act for Billy Childish and his band, Thee Headcoats. After the group’s run of albums and singles ended, Golightly continued a solo career that had already kicked off with her 1995 debut album The Good Things. She has also lent her talents to others' work, including vocals on the White Stripes track “It’s True That We Love One Another.” As a solo artist, Golightly has released nearly a dozen albums; Clippety Clop is the tenth long-player credited to Holly Golightly & the Brokeoffs. It will hit the streets May 4, 2018 on Transdreamer Records via The Orchard/Sony.

But “& the Brokeoffs” is really just Holly's longtime partner Lawyer Dave. “Invariably, when you use the gear that we use — which is nothing fancy at all — it’s going to sound like what it sounds like,” Golightly says. And the Brokeoffs’ sound, a sort of Americana filtered through British punk, derives its distinctive flavor from the duo’s instrumental approach: Holly sings (and plays a bit of acoustic guitar) while Lawyer Dave accompanies her. “Dave's on guitar, playing drums with his feet, and singing,” Golightly explains. “I sprinkle it with magic dust.” The result has a welcome rawness that simultaneously recalls Sun Studio productions and iconoclastic Leeds, U.K. band Mekons.

Even with the primitive instrumental aesthetic and the equine theme, there’s plenty of variety within Clippety Clop. “The songs all start out the same way,” Golightly says with a laugh, “with one guitar and somebody singing. Everything’s just a song; it’s just how you treat it when you come to record it.” The studio she and Lawyer Dave use is convenient; it’s “20 feet from the door, in the shed in our garden,” she says. The pair lives on a large plot of land in rural Georgia, not far outside Athens.

Holly and Dave head out to that shed studio in spare moments when not busy with their other full-time endeavor, running a horse rescue farm. But the demands of work and life meant that the recording of Clippety Clop took place over the course of a couple of years. “We have a lot of animals to take care of,” Golightly says. “So one of us tends the animals at one end of the day, and one does them at the other end of the day. And then all there is beyond that is catching up with emails, eating and sleeping. So we didn’t take time off work to make this record; we just had to get at it as – and when – we could.”
And while the two have their differences when recording (“I would let things slip that Dave wouldn't find passable at all,” Golightly laughs), their methods complement each other. “Being a technically-minded and very proficient musician, Dave’s coming at it from a totally different place than I am. I learned three chords,” she says, “and that’s what I still know.”

The combination of Golightly and Lawyer Dave’s dissimilar musical backgrounds is another key to the distinctive character of Clippety Clop. “Dave and I don't share a lot of reference points musically,” Holly admits. “He doesn’t know half of what I know, and I don’t know half of what he knows. It’s a very odd combination, but it does work.”

Beyond the lyrical theme of the new album, Holly Golightly’s work with horses intersects with her music in a serendipitous way. “I’ve ridden horses my entire life,” she explains. “I used to be a horse trainer. I did long distance riding: 25 miles as a matter of course, three to four times a week. And that’s a really long time to be out in the wilderness on your own, with only the occasional coyote for company.
“A horse is a herd animal,” Golightly continues. “So when you take them out of their safety zone, when it’s just me and a horse out there on a trail in the middle of nowhere, they get comfort from the sound of humming and singing.” Instead of sitting at home with a guitar and pen, Golightly discovered that new songs came forth during those moments alone with a horse.

Clippety Clop opens with “Mule Skinner,” an irreverent and plucky country blues that effectively sets the album’s mood. Holly and Dave often sound like a bigger band, extracting the most mileage out of the least number of instruments. Dave’s lean, distorted guitar lines juxtapose wonderfully with the down-home vibe. The duo’s ragged-but-right harmony (and/or unison) vocals convey the album’s spirit: equal parts punk-era England and timeless classic American country. And occasional slower numbers like “Carpet of Horses” evoke a Southern Gothic atmosphere.

Clippety Clop represents a return to music after what Golightly calls “a bit of a hiatus. But that was more from external circumstances than anything else,” she says. “We’re still having fun doing it.” In support of the new album, she and Lawyer Dave are looking forward to getting back on the trail and playing live dates across the U.S., with a European tour hopefully to follow. “I’m working on planning that now,” she says with a good-natured smile, “on my one day off in ten.”

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August 12, 2015


English lo-fi legend and Georgia transplant Holly Golightly returns
with new Holly Golightly and the Brokeoffs album,
out on October 16 on Transdreamer Records.

Fall U.S. tour dates announced.

RURAL GEORGIA — “I think that it’s the jewel in our crown,” Holly Golightly says of Coulda Shoulda Woulda, the eighth Holly Golightly and the Brokeoffs album. “I think it’s absolutely amazing, to be release October 16, 2015 on Transdreamer Records. When you do something for a really long time, it stands to reason that you’re gonna become more proficient at it.”

Anyone who’s followed the artist during her long and prolific career knows that she’s not prone to braggadocio or self-promotion. So when she expresses such enthusiasm about her own work, one tends to pay attention.

Over the course of a career that spans over 25 years and more than 35 albums, the English singer-guitarist has established a singular niche as one of rock ’n’ roll’s fiercest iconoclasts. Having built a powerful and influential body of U.K.-based work that established her as an indie/D.I.Y. icon, she relocated to a farm in rural Georgia to establish a new creative identity as half of Holly Golightly and the Brokeoffs, a scrappy, resourceful duo with Texas-bred multi-instrumentalist and sometime vocalist Lawyer Dave. Over the course of six albums, the pair has carved out a catalog of elegantly idiosyncratic Americana, drawing from a bottomless well of country, blues, folk, gospel ands rockabilly influences to create music that’s deeply personal and effortlessly accessible.

The 12-song Coulda, Shoulda, Woulda boasts some of Holly and Dave’s most accomplished and compelling work to date, with Holly’s unmistakable voice gracing such persuasive tunes as the raw gospel-thrash workout “Heaven Buy and Buy,” the fearsome white-trash tango “Apt. 34,” the bittersweet waltz “Jackhammer,” the heart-tugging holiday-themed “Christmas Is a Lie” and the crunching, anthemic title track. Lawyer Dave lends his distinctive vocal growl to the gospel-inflected “Jump in the River” and “No Judgment Day,” the dance-crazed “Karate” and the desolate duet “Lonesome Grave.” Meanwhile, the twosome indulge their taste for oddball vintage covers with “Marijuana, the Devil’s Flower,” a cautionary country tale originally recorded in the 1950s by the mysterious Mr. Sunshine.

As they have with their last few albums, Holly and Dave recorded Coulda, Shoulda, Woulda on the Georgia farm that they share with various horses, dogs, chickens, geese and goats, calling in neighbor Jeff Walls, of Woggles/Guadalcanal Diary fame, to add guitar on three tracks.

“I’m really thrilled with this one, and I really think that it’s exceptional and shows how far we’ve progressed,” Holly asserts. “We’re always asking ourselves, what can we do on this one that will be different, that will make it interesting for us and interesting for other people? I really like the short song format, because if a song is written from the heart, it can tell a story and it can make you feel all these things. Or it can just go ‘gabba gabba hey,’ and it can still make you feel something.

“I’ve always tried to be a one-take wonder,” she continues. “If I’m familiar with the song and know what I’m doing, the first, second or third take will generally be the one that I’ll go with. If I sing it any more than that, it’s probably gonna sound contrived. I don’t look at a record as a perfect representation, or the ultimate version of the song; it’s just what the song sounded like on that day, or on that take.”

Born in the Kensington section of London, in the same hospital that Jimi Hendrix died in, Holly Golightly grew up in a bohemian household and was drawn to music early in life, embracing punk rock and vintage soul and eventually falling in with the now-legendary Medway rock ’n’ roll scene via her then-boyfriend Bruce Brand, drummer of Billy Childish’s seminal garage-primitive combo Thee Headcoats. Although she’d never sung a note in public previously, an impromptu guest spot singing with Thee Headcoats led to Holly becoming a member of that outfit’s sister group, Thee Headcoatees, with whom she recorded eight albums.

In 1995, Holly branched out into a solo career that quickly revealed her distinctive songwriting talent and commanding stage presence Her solo work also largely traded Thee Headcoatees’ three-chord girl-group garage rock for a rootsier, more intimate approach, drawing inspiration from American blues, country and pop.

In the years that followed, Holly built a massive and influential body of work, releasing more than 20 solo albums as well as numerous singles and EPs for a variety of independent labels, including Damaged Goods, Kill Rock Stars, Super Electro and Sympathy for the Record Industry. Her stature as an indie role model led to her collaborating with such friends and admirers as the White Stripes (on whose Elephant album she’s featured), Mudhoney, Rocket from the Crypt and the Greenhornes.

In 2007, Holly officially teamed with Lawyer Dave, who had been playing stand-up bass in her touring band for several years, to form Holly Golightly and the Brokeoffs, which debuted that year with the acclaimed album You Can’t Buy a Gun When You’re Crying. That release was followed by Nobody Will Be There, Dirt Don’t Hurt, Medicine County, No Help Coming, Sunday Run Me Over and All Her Fault.

Recording as a self-contained duo, and performing live with Holly singing and playing guitar, and Dave playing guitar with his hands and drums with his feet, Holly Golightly developed a raw, immediate sound that’s distinct from Holly’s other projects, and perfectly suited to their lyrical explorations of such quintessentially American themes as love, whiskey, religion and guns. She also found time to return to her British roots, reconnecting with her old London-based backing band to record 2015’s Slowtown Now! for the Damaged Goods label, set for September 11, 2015 U.S. release.

The Brokeoffs, Holly notes, “is the first true collaboration I’ve ever been involved in, so it took me awhile to learn to do it this way. It takes a bit longer when two people have to agree on things, and I didn’t have a lot of patience for that in the beginning because I’d gotten used to having everything my own way But I’ve come to value the benefits of collaboration. Dave has very different interests from me, and he takes a lot of care, and he won’t let things slide the way I sometimes would. We also hear things differently, so that makes it a good mix. There’s a lot of spontaneity in what we do, but there’s also a lot of regard given to every layer and every element.”

After a quarter-century of music-making, Holly Golightly’s creative passion remains as strong as ever. “When I started recording, I had no ambition, and I wasn’t thinking far ahead,” she says. “If somebody had told me when I was 17 that by the time I was 45 I would have done all this stuff, and that I’d still be up in front of people singing songs I’ve written, I would have said that there’s no way I’d have the balls to do that. It still surprises me that I can look back on all of these records like a diary, and that I can see them as part of the process of me learning how to do this and how to plough my own path.

“I never set out with any particular strategy or ambition, and I still don’t have one,” she concludes. “It just comes from luck and tenacity, and from being completely indifferent to what everybody else is doing. I love writing songs and playing music, and I’ve always worked my tits off to be able to have music in my life. Everything else in my life is hard graft, but music is what I do for fun.”

Tour dates

Sat., Oct. 24 BELMAR, NJ 10th Ave. Burrito
Mon., Oct. 26 BROOKLYN, NY Knitting Factory
Tue., Oct. 27 NEW YORK, NY Mercury Lounge
Wed., Oct. 28 BOSTON, MA Atwood Tavern
Thu., Oct. 29 PORTLAND, ME Blue
Fri., Oct. 30 NEW HAVEN, CT Cafe Nine
Sun., Nov. 1 ROCHESTER, NY Bug Jar
Tue., Nov. 3 CLEVELAND, OH Beachland Tavern
Wed., Nov. 4 DETROIT, MI Small’s
Thu., Nov. 5 CHICAGO, IL Township
Fri., Nov. 6 MINNEAPOLIS, MN Turf Club
Sat., Nov. 7 OMAHA, NE O’Leaver’s

Hear a track from Holly Golightly & the Brokeoffs' Coulda, Shouda, Woulda via Brooklyn Vegan:

July 17, 2015


Transatlantic indie icon Holly Golightly returns to her British roots with Slowtown Now!, her first full-band album in over a decade

L ONDON, UK— In a career that spans 25 years and more than 20 albums, Holly Golightly has established a singular niche as one of rock ’n’ roll’s most reliable iconoclasts. Along the way, the English singer-guitarist’s musical output has retained its scrappy D.I.Y. spirit as it’s continued to venture into new stylistic territory. In recent years, the London native has relocated to rural Georgia, where she and partner Lawyer Dave have carved out a new musical identity as Holly Golightly and the Brokeoffs, exploring a rootsy, ramshackle array of blues and country influences.

While her work with the Brokeoffs has won her new levels of critical acclaim and fan loyalty, Holly’s longtime admirers maintain an abiding affection for the utterly distinctive, melodically infectious rock ’n’ roll records that originally established her as a musical force. Those fans will welcome the new Holly Golightly release Slowtown Now!, out September 11, 2015 on the legendary English indie imprint Damaged Goods.

Her first full-band effort since 2004’s Slowly But Surely, Slowtown Now! reunites Holly with her longstanding U.K. band of guitarists Ed Deegan and Bradley Burgess, bassist Matt Radford and drummer Bruce Brand. Recorded at London’s Gizzard Studios, the album echoes the free-spirited approach of Golightly’s early albums, drawing upon her deep affinity for vintage musical styles to create deeply personal, utterly distinctive songcraft. The 12-song set encompasses rocking swagger (“As You Go Down”), catchy girl-group pop (“What You See”), jazzy balladry (“Frozen in Time”) and playful exotica (“Seven Wonders”).

“There’s nothing contrived, it’s just a bunch of friends who love playing together,” says Holly, noting that the original impetus for the project was to mark the 25th anniversary of Damaged Goods, which released many of the artist’s landmark musical triumphs in the ’90s and ’00s.

She adds that she’d missed making music with her U.K. combo in recent years. “I’d been touring and recording so much with the Brokeoffs that I hadn’t done anything with my band for a long time, and I really missed playing with them,” she explains, adding, “It was very easy to step back into it. We’ve worked together for so long that it’s telepathic at this point, even with the gap in between. So it was easy to just get back together in a room and pick up where we’d left off.”

Born in the Kensington section of London, in the same hospital where Jimi Hendrix died, Holly made her performing debut via her relationship with then-boyfriend Bruce Brand. An impromptu guest spot singing with Brand and lo-fi D.I.Y. guru Billy Childish’s seminal garage-primitive combo Thee Headcoats led to Holly jointly forming that group’s sister band, Thee Headcoatees, with whom she recorded eight albums.

In 1995, while still a member of Thee Headcoatees, she branched out into a solo career that quickly revealed both a distinctive songwriting talent and a commanding stage presence. Her solo work largely traded Thee Headcoatees’ three-chord girl-group garage rock for a rootsier, more intimate approach drawing inspiration from a broad range of American styles. She’s been intensely prolific in the years since, releasing a steady stream of albums, singles and EPs on a variety of independent labels, including Damaged Goods, Kill Rock Stars, Super Electro and Sympathy for the Record Industry. She’s also collaborated on record with such friends and admirers as the White Stripes, Mudhoney, Rocket from the Crypt and the Greenhornes.

Her impressive history aside, Slowtown Now! makes it clear that Holly Golightly remains a unique and prolific musical force, continuing to create vital new music on a regular basis. She and Lawyer Dave recently completed a new Holly Golightly and the Brokeoffs album, Coulda Shoulda Woulda, slated for release in October, with an American tour to follow.

“I really love having these two parallel things going,” Holly notes. “They’re different enough that they don’t step on each other’s toes, but they’re both me.”

LISTEN NOW to a track from Holly Golightly's Slowtown album:

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October 31, 2013



Album coming March 4 on Transdreamer Records.
Holly and Lawyer Dave to tour America in spring.

SMALLTOWN GEORGIA — Holly Golightly has made over 20 albums and appeared on countless more, but she never had a recording experience like the one she had making the new Holly Golightly and the Brokeoffs release All Her Fault, coming March 4, 2014 on Transdreamer Records.

Golightly and her partner Lawyer Dave spent nearly six months on the project. “It has never taken me that long to get through 12 tracks,” she admits. “I don’t have the patience for endlessly going over things. I want things done quickly and this was like pulling a Dave-shaped log along at times.”

A native of England, Golightly currently lives with Lawyer Dave on a rural farm outside of Athens, Georgia. The duo recorded this album in the convenience of their home studio, which they found had drawbacks too. “You have to be disciplined when you are paying for studio time, but even more so when you are recording at home,” she says. What with working on their farm, having day jobs and tending to their rescued horses, the two were challenged to find recording time.

Being a two-person band (Lawyer Dave “is” the Brokeoffs) made recording a slow process, according to Golightly. They built their tracks the DIY way, with Dave layering the instruments. For this recording, they received some great, donated equipment as well as stuff that neighbors dug out of their barns that the couple had to clean up. Then, on top of everything else, raging summer thunderstorms deluged them. “We got flooded out a few times and had the power go out.” she explains. “The studio had to be shut down for days at times, so we couldn’t do anything for fear of losing everything if we suddenly lost electricity, which we did, on and off, all summer.”

Despite all the troubles and trials getting it done, Golightly feels justifiably proud of All Her Fault, which she describes as their “most rounded and complete album.” She says that the benefit of the extra time let the pair “exhaust every avenue of potential” in their songs. “There’s nothing where Dave and I said that we could have made it better.”

Don’t expect All Her Fault, however, to sound radically different from their earlier releases. It’s still a raw, rough-hewn stew of twisted roots music forged by the duo’s distinct musical interests — she listens to late ’50s/early ’60s R&B and he loves rock ’n’ roll. “I’m not looking to achieve something that hasn’t been achieved before,” she confesses. “We just what we do. The songs are really all that changes.”

Full of colorful characters and frank commentary, the songs on All Her Fault rank among her strongest. Prime examples are the tunes that bookend the album: “SLC” and “King Lee.” “SLC” opens the disc with a satiric look at a certain Utah city “where you ain’t gonna have a good time” due to its restrictive environment. By contrast, the closing “King Lee” celebrates personal freedom as it salutes the uninhabited lifestyle of an old man who lives near Golightly, who describes him an “entrepreneur” although she isn’t quite sure what he does.

Golightly and Lawyer Dave stock the rest of the record with a rambunctious set of home-brewed backwoods music — from the eerie swamp rocker “For All That Ails You” to “Can’t Pretend” (which resembles T. Rex on a rockabilly bender), while “The Best” suggests a lullaby that just might inspire nightmares.

“The Best” also utilizes one of their recent studio additions: a piano. Piano actually figures prominently in several numbers including the disc’s central track, “Bless Your Heart.” This marvelous rant aimed at people who pretend to be who they aren’t was inspired by a Nashville star who sings about dirt roads and tractors but really is just a cowboy hat-wearing suburban kid. “It’s a glorification of living in a trailer and the locals don’t glorify it,” she states. “I have a problem with people presenting themselves as something they are not. I do enjoy straightforward honesty above all else really.”

A tune that stirs different emotions in her is “Pistol Pete,” which is based on one of their rescue horses. “I really love that song,” she says, “It makes me cry.” Horses have been an important part of Golightly’s life for even longer than music. Growing up with her grandparents on a smallholding in East Sussex, England, Golightly was an apprentice jockey and later a riding instructor throughout her involvement with U.K. garage rocker Billy Childish’s musical world. She also took in rescue horses, as and when funds allowed. She and Lawyer Dave, in fact, bought their rural Georgia farm so that hey could have enough land to continue and expand that work.

Making music and working with animals are equally important to Golightly, who has found that they aren’t as different as they might seem. “You learn skills from one that you can transfer to the other,” she explains. Balancing the two interests creates touring dilemmas that most bands don’t face. To support All Her Fault, Golightly and Lawyer Dave will only able to do a full cross-country tour — their first in a long time — due to the generosity of their local friends and neighbors, who will take care of their farm and the animals for the weeks they’ll be on the road.

Golightly acknowledges that she is privileged to be able to do what she loves to do, but she says, “I work really hard to do all of the things I want to do.” The definition of a working musician, Golightly has always had a day job and, in fact, now holds down two. “I have to make a living and feed these hungry horses.” Her music career supports itself, but it hasn’t made her rich. “I’ve never relied on making money from doing it,” she confides. “I’d have starved to death by now if I had done, but I have stuck to my guns and I do it exactly the way I want to do it.” It’s this straight-shooting attitude that she also expresses in the honesty of her music.

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July 23, 2012


Fifth duo album due out October 9 on Transdreamer Records

MADISON COUNTY, Ga. — “I guess I’m kind of a traditionalist, and I stick to what works for me, which is keeping things as simple as possible,” says Holly Golightly. “But I certainly don’t want every record to sound the same, and I think I’ve managed to pull that off, within the strict parameters that I’ve set for myself. As far as I’m concerned, there’s no limit.”

Sunday Run Me Over, due out October 9, 2012 on Transdreamer Records through Megaforce, is Holly’s fifth album with the Brokeoffs, who are actually a duo consisting of the London-born, Georgia-based singer/songwriter/guitarist and Texas-bred multi-instrumentalist and longtime collaborator Lawyer Dave, who contributes guitar, drums and vocals.

But it’s one of nearly 30 albums on which the pioneering D.I.Y. iconoclast is featured, either as a solo artist or band member, and that figure that doesn’t include her various singles, guest appearances and collaborations with the likes of the White Stripes, Mudhoney, the Greenhornes and Rocket from the Crypt. Throughout a career that’s spanned more than 20 years, she’s maintained a fierce fidelity to the unpretentious attitude and stripped-down sonic sensibility that’s made her a seminal influence upon multiple generations of garage, punk and lo-fi artists.

Although she prides herself on sticking to the basics, the Sunday Run Me Over nonetheless finds Holly Golightly and the Brokeoffs mining an assortment of rootsy musical sources to create such deeply expressive, unmistakably personal tunes as the chugging opener “Goddamn Holy Roll” (a line from which gives the album its title), the ghostly, loping duet “They Say” and an off-kilter waltz “One For the Road.” This set also features a trio of retooled cover tunes: a lilting take on the Davis Sisters’ 1953 country hit “I Forgot More,” a spirited reading of Wayne Raney’s 1960 gospel chestnut “A Whole Lot More . . . ” — a.k.a. “We Need a Whole Lot More of Jesus (and a Lot Less Rock and Roll)” — and a hearty run through Mac Davis’ 1980 “Hard to Be Humble,” which boasts an appropriately swaggering lead vocal by Lawyer Dave.

Holly and Dave recorded Sunday Run Me Over at home, in their modest studio built by Dave on the rural parcel of land that the pair shares near Athens, Ga., where they rescue horses, dogs, chickens, geese and goats alongside making music.

“We rented in some pretty fancy equipment this time around, so that we could make it sound a bit different,” Holly explains, adding, “The benefit of doing it at home is that you can take your time doing it, which is a luxury you don’t get when you’re up against the clock in the studio. You can record in your pajamas, or you can trip out there at four in the morning if you have a mind to change something. Having the freedom to do it at your own pace allows you to make music that sounds unhurried, and it makes for a lot of space in the music.

“We really did give this one our undivided attention, and I think that really does show,” she says of the new album. “We worked really hard on it — not that we haven’t worked hard on the others, but on this one, we wouldn’t stop working on something until we were a hundred per cent happy with it before moving on. We also recorded it in the dead of winter, which we don’t normally do, so it wasn’t too hot. We had lots of energy in the studio, ’cos it was cold, and I think that’s reflected in the music.”

Born in London, in the same hospital that Jimi Hendrix died in, Holly Golightly grew up in a bohemian household and pursued her own musical path early in life, embracing punk rock and vintage soul. “I stopped listening to pop music when I was quite young . . . The music that was popular at the time simply didn’t do anything for me,” she recalls. “I was absorbed in the sub-culture of soul clubs and dancing to ’50s and ’60s R&B, and that was more my thing. I had a punk rock sensibility, but I loved soul music. So when I started to make music myself, I drew from what I loved, and that’s all I’ve done ever since. It is a bottomless pool of inspiration.”

Although she’d never sung in public previously, Holly’s performing debut came via Bruce Brand, drummer of Billy Childish’s seminal garage-primitive combo Thee Headcoats. An impromptu guest spot singing with the band led to a lengthy run as a member of Thee Headcoats’ sister band, Thee Headcoatees, who were “invented” on the spot and with whom she recorded eight albums during their 12 years together.

In 1995, while still a member of Thee Headcoatees, Holly branched out into a solo career that quickly revealed a both a distinctive songwriting talent and a commanding stage presence. Her solo work also largely traded Thee Headcoatees’ three-chord girl-group garage rock for a rootsier, more intimate approach. She’s been intensely prolific in the years since, releasing 20 solo albums as well as numerous singles and EPs for a variety of independent labels, including Damaged Goods, Kill Rock Stars and Sympathy for the Record Industry.

In 2007, Holly officially teamed with Lawyer Dave, who had been playing stand-up bass in her touring band for several years, to form Holly Golightly and the Brokeoffs. Recording and performing as a duo, with Holly singing and playing guitar, and Dave playing guitar with his hands and a drum set with his feet, they developed a raw, immediate sound that’s perfectly suited to their explorations of such themes as love, whiskey, religion and guns.

Holly Golightly and the Brokeoffs’ 2007 debut effort You Can’t Buy A Gun When You’re Crying won considerable attention from critics and fans alike. The pair continued to expand their audience with 2008’s acclaimed Dirt Don’t Hurt, their first release on the Transdreamer label. It was followed by the EP Devil Do and the widely acclaimed albums Medicine County and No Help Coming, released in 2010 and 2011, respectively.

The Brokeoffs, Holly notes, “is the first true collaboration I’ve really been involved in, and Dave generally doesn't work well with others, so learning how to do it well has taken us a few years. It slows things down a bit, when two people have to agree on things, and of course neither of us had a surplus of patience for it in the beginning. I’d gotten very used to doing everything my way and so had Dave, but now we've come to value the benefits of collaboration and seem to have honed it to a fine art.”

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Artist Photo