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Blazemuse - Miss Freddye commands the blues with grace in the new single “Slippin' Away”
Miss Freddye is back with a new single called "Slippin' Away," which is honest, weathered, and lived-in. She is known as Pittsburgh's Lady of the Blues, and she brings all of her fame to this song, which is a slow-burning meditation on love slipping through one's fingers. This tune is the most personal kind of blues storytelling, where control and raw emotion go hand in hand.
The song builds slowly, giving emotions room to breathe. The main part of the song is Miss Freddye's voice, which has a sense of sadness and reflection that never feels forced. She lets each line of the song hang in the air, pulling the listener deeper into the pain of being apart and remembering. It feels like she's singing the song directly to the listener instead of performing it for them.
The musicians around her give her a steady, tasteful base. Mike Huston's guitar playing adds a little spirit and warmth, and Jeff Conner's keys softly change the mood. The bass by Greg Sejko and the drums by Bob Dicola keep everything together with a steady, unshowy groove that helps the song instead of competing with it. Every note feels like it was meant to be there, adding to the emotional core without getting in the way.
"Slippin' Away" is also a heartfelt tribute to the late Mike Lyzenga, which gives the song even more meaning and sincerity. That feeling of remembering makes the song more meaningful, making it feel like it speaks to everyone. Miss Freddye shows once more that the real power of the blues comes from being honest, open, and emotionally honest in "Slippin' Away." This song sticks with you long after the last note has faded.
https://www.blazemuse.com/2026/02/miss-freddye-commands-blues-with-grace.html
Basement Echos - Slippin’ Away by Miss Freddye
Opening with a classic blues palette, Slippin’ Away places guitar, keys, bass, and drums in a restrained conversation that favors feel over flash. Mike Huston’s guitar phrases respond patiently to Jeff Conner’s keys, while Greg Sejko and Bob Dicola keep a steady, human pulse beneath the song, with space carefully measured throughout the arrangement.
Rather than rushing its point, the composition unfolds at an unhurried pace, allowing the story to reveal itself gradually. Sections move with intention, repeating ideas just enough to underline meaning without excess. The arrangement mirrors love fading slowly, choosing patience instead of dramatic turns. Transitions remain smooth and emotionally consistent throughout the full song.
In production, clarity and warmth define the recording at Red Caiman Media. Miss Freddye’s own oversight keeps the mix honest, with vocals forward yet never overpowering. Each instrument occupies its space, and the balance supports intimacy rather than polish for its own sake. Room tone and dynamics remain natural throughout the entire performance session.
Live, the song suggests a setting where attention deepens rather than explodes. Its measured tempo and conversational playing invite listeners to lean in, following every pause and swell. The energy feels communal and reflective, built on shared listening instead of volume or speed. Such restraint often carries power onstage for blues audiences everywhere listening.
Lyrically, Slippin’ Away centers on uncertainty and loss, voiced through plainspoken lines like I don’t know where we’re goin’ and I don’t know where we’ve been. Written by Mike Lyzenga, the story feels lived in. Miss Freddye delivers it with acceptance, letting truth linger quietly. The result resonates without asking for sympathy from listeners.
CAGUAMA MEDIO - Miss Freddye – Slippin' Away CM
La más reciente entrega de Miss Freddye es de esas piezas que te marcan a fuego, que te dejan una cicatriz imborrable, esta no es simple música, es un exorcismo emocional, un ritual catártico donde el dolor se transmuta en belleza.
"Slippin' Away" no es una balada complaciente, es un grito desgarrador que emerge desde las entrañas mismas del desamor, la voz de Miss Freddye, cual saeta envenenada, te atraviesa sin piedad, te arrastra a su torbellino de recuerdos amargos, a ese laberinto donde la nostalgia se confunde con la desesperación silenciosa y discreta, cubierta por suavidad y delicadeza, no hay artificios ni poses, solo la verdad tajante y pasiones extintas, este es un tema punzante que habla de quien ha amado con locura y ha perdido sin remedio.
La melodía vibrante y melancólica te mece suavemente mientras te desmoronas, se siente como si cada nota fuera una lágrima derramada y cada acorde un suspiro ahogado, la instrumentación, precisa y sutil, crea una atmósfera opresiva que te asfixia lentamente, que te impide escapar del embrujo de la canción.
"Slippin' Away" es un espejo donde se reflejan nuestras propias heridas, nuestras propias batallas perdidas. Es un recordatorio de que el amor, como la vida misma, es efímero y frágil. Pero también es una invitación a abrazar nuestra vulnerabilidad, a reconocer nuestra fragilidad y a encontrar la belleza en medio del caos.
Esta canción no es para oídos pusilánimes, es para aquellos que se atreven a sentir sin reservas, para aquellos que no temen sumergirse en las profundidades del alma, es un viaje iniciático a través del dolor, un peregrinaje hacia la sanación después de atravesar un averno emocional.
Miss Freddye no solo canta, exorciza sus demonios y, al hacerlo, nos libera a nosotros de los nuestros, "Slippin' Away" es una obra maestra, un legado para la posteridad, una canción que te estremece si te atreves a escucharla con el alma abierta.
https://www.caguamamedio.com/2026/02/miss-freddye-slippin-away-cm.html?m=1
Miss Freddye delivers a tribute to legacy with “Slippin’ Away”
“Slippin’ Away” is an emotional song about love that doesn’t break up all at once, but slowly slips away, and Miss Freddye’s voice is real, deep, and very much in the blues tradition. Produced by Miss Freddye and recorded at Red Caiman Media in Pittsburgh’s North Hills, this release is a sad blues ballad that focuses on being honest with your feelings rather than adding extra details.
Written by the late Mike Lyzenga in 2018, “Slippin’ Away” has a quiet sense of reverence that lets the story of fading love unfold naturally. Miss Freddye’s rendition respects the song’s origins while distinctly establishing her unique identity.
Her singing feels like each note was carefully chosen, and her delivery of emotion is raw, as if she is not just singing about loss but living it. The production supports this method by giving the emotion a clear, unobstructed background to work with.
“Slippin’ Away” is especially interesting because it strikes a good balance between paying tribute and being unique. Miss Freddye doesn’t think of the song as a fragile work of art to be kept behind glass, even though it is a heartfelt tribute to Mike Lyzenga’s writing. Instead, she brings it back to life, allowing the blues to turn pain into shared experience.
This piece stays unclear, which is like how it feels to see something important fade away. The song’s strength comes from its patience, which lets it stay with you for a long time, and “Slippin’ Away” is proof that the blues shows how real, strong, and brave it is to feel deep emotions.
https://upheremagazine.com/miss-freddye-delivers-a-tribute-to-legacy-with-slippin-away
Steel, Soul, and Survival: Miss Freddye and the Blues That Built Pittsburgh
In Pittsburgh, the blues doesn’t arrive as an import; it’s homegrown, shaped by mill smoke, river fog, and the stubborn optimism of a city that learned how to rebuild itself without forgetting where it came from. Few artists embody that lineage as fully as Miss Freddye, widely known—and rightly so—as Pittsburgh’s Lady of the Blues.
Freddye’s story isn’t one of overnight discovery or trend-chasing. It’s a long, lived-in narrative built from persistence, family, faith, and an unwavering commitment to telling the truth. She came to music through gospel, where emotion isn’t ornamental—it’s essential. That grounding never left her. When Freddye sings the blues, she doesn’t perform hardship; she testifies to it. Her voice carries the authority of someone who’s been there and came back with receipts.
Over the years, that honesty has translated into real success. Miss Freddye’s recordings have landed on blues charts, earning national recognition and radio play far beyond western Pennsylvania. Those chart hits weren’t engineered for crossover appeal; they resonated because listeners recognized something authentic in her delivery. In an era when blues is often treated like a museum piece, Freddye’s music feels current precisely because it refuses to polish away the grit.
Her career has unfolded in parallel with Pittsburgh’s own modern identity—a city that honors its working-class roots while carving out new cultural space. Freddye has become a fixture in that landscape, a constant presence at festivals, benefits, and community events, singing not just to the city but for it. She’s shared stages with respected names in blues and soul, but she’s just as committed to lifting up local musicians, reinforcing the idea that a scene survives through generosity as much as talent.
What sets Miss Freddye apart is how seamlessly her life feeds her music. She sings about love, loss, resilience, and joy with the clarity of someone who understands that survival is rarely glamorous. There’s humor in her performances, too—a wink, a laugh, a reminder that the blues isn’t only about sorrow but about endurance. That balance keeps her work grounded and human.
And then there’s Pittsburgh itself. Freddye doesn’t just represent the city; she belongs to it. She speaks about Pittsburgh with pride, not as a backdrop but as a character in her story. The neighborhoods, the people, the shared history—they all show up in her music, sometimes explicitly, often implicitly, always sincerely. In a business that encourages artists to chase larger markets, Freddye’s loyalty to her hometown feels quietly radical.
Miss Freddye’s legacy is still being written, but its foundation is already solid: chart success earned the hard way, a life fully lived, and a city that hears itself reflected in her voice. Pittsburgh didn’t just give her the blues—she gave the blues back, stronger, wiser, and unmistakably her own.
–Jarvis Landers
VENTS MAGAZINE
The blues has never needed permission to survive. It endures because artists keep finding new ways to speak plainly about hard truths, joy wrestled from struggle, and the stubborn grace of everyday life. In 2025, the music is neither frozen in amber nor chasing trends. It moves forward by staying honest—by honoring tradition while letting present-day realities shape the sound. Across juke joints, theaters, churches, clubs, and festivals, a wide circle of artists continues to prove that the blues is not only alive, but essential.
In Pittsburgh, Miss Freddye remains a commanding force. Her voice carries the authority of lived experience, grounded in gospel fervor and sharpened by decades of stage time. She doesn’t perform the blues as a style; she testifies. Each song feels earned, each note delivered with the kind of conviction that turns community history into shared memory.
Down in Mississippi, Christone “Kingfish” Ingram continues to redefine what a modern blues guitarist can be. His playing is technically fearless but emotionally anchored, drawing from Delta roots while addressing a contemporary world. In 2025, Kingfish sounds less like a prodigy and more like a voice of his generation—confident, grounded, and unmistakably Southern.
Chicago’s influence still runs deep through the work of Toronzo Cannon, whose songwriting reads like short fiction from the factory floor. His music balances grit and wit, using classic blues structures to tell present-day stories of work, pressure, and perseverance. Cannon keeps the city’s blues lineage alive by treating it as a living language, not a museum piece.
Across the Atlantic, The Curse of KK Hammond channels the ghosts of pre-war blues into something strikingly original. Armed with slide guitar, foot percussion, and a voice that sounds pulled from a midnight ritual, Hammond’s music feels elemental. Her songs don’t modernize the blues so much as strip it back to its bones, reminding listeners how haunting and powerful the form can be when left unpolished.
https://ventsmagazine.com/2025/12/29/still-standing-still-singing-the-blues-in-2025/
THE WOMEN OF MTS: GLAM, GRIT, AND GAME-CHANGING MUSIC
Mainstream music loves to put women in boxes—pop princess, country sweetheart, indie darling. But MTS Records/MTS Management Group is busy setting those boxes on fire. Founded by Michael Stover, the label has become a magnet for women who won’t play by industry rules. These are artists who can rock rhinestones one night, rip your heart out the next, and still show up the morning after like nothing happened. They’re country storytellers, electro-goddesses, blues queens, and pop provocateurs. Together, they’re redefining what indie music looks—and sounds—like.
Take Alex Krawczyk. She’s like the friend who brings you tea after a messy breakup but also drags you out for sunrise yoga the next day. Her music has the warmth of a cashmere blanket and the soul of Laurel Canyon—folk, pop, and Americana stitched into a sound that heals as much as it entertains. Imagine Joni Mitchell with a Spotify algorithm glow-up. Alex isn’t just charting; she’s soothing the collective burnout of modern life. Her latest single is a tribute to the Grateful Dead, “Love Through Sound.”
Then there’s Ashley Puckett, Pittsburgh’s country siren with a voice that belongs somewhere between a honky-tonk jukebox and a Nashville awards stage. Inspired by Lee Ann Womack and Jo Dee Messina, she’s got the chops of a traditionalist but the confidence of someone who could roll her eyes at TikTok trends and still land a Top 80 hit. Her single “Anchor” nailed the emotional weight of love as strength, following up the tequila-soaked storytelling of “Tequila.” Ashley’s vibe is small-town charm with chart-ready polish, the kind of artist who could headline a county fair and then slay a CMA stage the same week.
For Arkansas duo Cliff & Susan, Susan Prowse is the not-so-secret weapon. Think piano-bar meets country festival, with Susan’s powerhouse vocals running the show. She’s got this effortless glam-meets-girl-next-door vibe, the kind of energy that makes fans feel like they’re part of the performance, not just watching one. Whether she’s live-streaming in sequins or singing her heart out on stage in boots, Susan is proof that being a boss doesn’t mean losing your sparkle. The duo’s latest single is “West Virginia.”
Angie McConnell of Eleyet McConnell brings a different kind of heat. She doesn’t just sing songs—she owns them, pouring grit, sweat, and soul into every note. Their award-winning single “Surrender” was the moment the world really caught on to her power. Angie’s vibe is part blues bar, part arena rock, and fully authentic. She doesn’t dress her truth up in metaphors—she sings it raw. Imagine Beth Hart swapping leather for fringe, and you’re close. Expect a new album from the duo in late 2025.
And then we have Elvira Kalnik, who is basically an avant-garde pop star beamed in from another galaxy. Born in Europe, based in the U.S., Elvira Kalnik is a one-woman creative hurricane—singer, producer, fashion designer, actor. Her music is electronic pop spiked with opera and jungle beats, and her visuals look like Alexander McQueen threw a rave in a cathedral. Her single “Water Knows” is more than a track—it’s a mood board, a runway, and a dance floor all colliding at once. Elvira Kalnik is proof that indie can be couture.
Miss Freddye, Pittsburgh’s Lady of the Blues, is all about soul with scars. When she sings, you hear every heartbreak, every triumph, every night she’s walked into a smoky bar and left it transformed. Her music is gospel-tinged blues with a side of grit, and her life offstage is just as powerful—advocating for veterans, lifting up her community, proving that artistry isn’t just about fame, it’s about service. If Adele had a godmother who survived everything and turned it into gold, it would be Miss Freddye.
The Curse of KK Hammond feels like a character from a gothic Western film, stepping straight out of the shadows with a guitar in her hand. A U.K. slide guitarist and songwriter, she’s reinvented Delta blues with a dark, cinematic twist. Her debut album Death Roll Blues earned chart love and critical praise, but it’s her whole aura—the wide-brim hat, the haunting imagery, the swampy swagger—that makes her unforgettable. KK Hammond is the kind of artist who could headline Coachella at midnight and have the crowd howling at the moon.
Then there’s Olivia Millin, the baby of the crew at just 20 years old, but don’t let the age fool you. She’s serving J-pop shimmer mixed with dance-pop bite, all wrapped up in visuals straight out of Harajuku. Her Halloween-inspired “Soul for the Taking” proved she’s unafraid to get weird—in the best way—combining sugary hooks with dark, cinematic flair. Olivia is Gen Z pop stardom personified: experimental, global, and immune to anyone’s expectations but her own.
Pamela Hopkins comes in swinging from Little Rock, the country firebrand who makes every stage feel like home turf. A multi-instrumentalist and powerhouse vocalist, she delivers heartbreak ballads with the same conviction as honky-tonk anthems. Her single “Walk of Honor” showed off the emotional grit that makes her stand out. Pamela’s live shows are rowdy, heartfelt, and real—country without the clichés, and all the more powerful for it. Check out her latest autobiographical hit, “Me Being Me.”
Pam Ross is a truth-teller with a guitar, serving Americana with rock and blues edges sharp enough to cut through the noise. Her music is raw and relatable, the kind that makes you pause mid-scroll and really listen. Her breakout single “Fire in the Hole” proved she could hook critics and fans alike. Pam doesn’t just write songs—she writes lifelines. She’s less polished veneer and more ripped jeans, whiskey glass, and hard-earned wisdom. Her latest, “Crazy Ride” is out now.
Finally, Shweta Harve brings pop with a purpose. In a world drowning in empty hooks, she’s turning the genre into a megaphone for empowerment. Her single “What the Troll?” doubled as both a bop and an anthem, tackling cyberbullying with sass and resilience. Shweta has Billboard credibility and Mediabase numbers, but she also has something better: a voice that says fun doesn’t have to be shallow. She’s proof you can dance and think at the same time.
What makes the MTS women impossible to ignore is that they aren’t polished into sameness. They’re celebrated for their differences, their quirks, their willingness to be messy, authentic, and unapologetically themselves. They’re country crooners, pop dreamers, blues warriors, and avant-garde visionaries. And together, they’re proving that independence doesn’t mean invisibility—it means freedom. Freedom to be fierce, freedom to be fragile, freedom to reinvent yourself with every release.
These women feel like the artists we’ve been waiting for. They’re not just creating soundtracks for our lives—they’re rewriting the playlist for what it means to be a woman in music right now. Glam, grit, and game-changing creativity: the women of MTS are the future, and the future sounds fearless.
https://galoremag.com/the-women-of-mts-glam-grit-and-game-changing-music/
Live Positively
Pittsburgh isn't the first city you think of when you conjure up the ghosts of the blues. But maybe that's the problem. We keep looking for the blues in the past—cotton fields, shotgun shacks, whiskey-soaked juke joints—when in truth, the blues is where the ache lives now. And right now, it lives in a place called Steel City. It pulses in the smoky alto of a woman named Miss Freddye. Not just a blues singer—a healer, a spirit keeper, a survivor.
Freddye Stover didn't start out trying to be a queen of anything. She was a nurse first, a caregiver in the most literal sense. But what most folks don't know is that music is caregiving—just with a different kind of scalpel. And when Freddye took the stage for the first time in the mid-90s, she wasn't trying to chase fame or fortune. She was trying to fill a space in her own heart—and in doing so, filled a space in ours.
From the beginning, Miss Freddye didn't just sing the blues—she channeled them. Whether fronting her electrified Blues Band or the more rootsy acoustic Blues Fugitives, her voice always carried the weight of experience, soaked in gospel, peppered with soul, and bound together by something unteachable: authenticity. You can't fake the blues. You either lived them or you didn't. And Miss Freddye has lived them—in hospitals, in personal loss, in quiet moments of reflection, and in loud rooms where she gave everything to the mic and left nothing for herself.
There's a warmth to her stage presence that disarms you, a kind of maternal strength. But don't confuse that with gentleness. When she sings “Slippin' Away,” her latest single, it's not a whisper from some faraway place—it's a wail from right here, right now. A lament for every love lost, every chance missed, every wound still bleeding under the surface of a smile. The song is stripped down, raw, and unfiltered. You hear the ache in every note, and you know it's real.
That's the thing about Miss Freddye. She makes you feel seen. Like she's not just singing at you—she's singing for you. And if you've ever been broken, if you've ever held someone's hand as they faded from this world, if you've ever prayed to a God you weren't sure was listening—then she's your blueswoman.
Over the years, Miss Freddye has shared stages with some of the greats—Taj Mahal, Koko Taylor, and the late, legendary Big Jack Johnson. She's earned awards and accolades, sure, but none of that defines her. What defines her is her relentless devotion to service. She volunteers for cancer charities. She sings for veterans. She raises money and awareness for the voiceless. Her music is ministry in denim and leather, a pulpit made of amplifiers and open wounds.
Her catalog isn't massive, but it doesn't need to be. Songs like “Lady of the Blues,” “Freight Train Blues,” and her gospel-drenched “Wade in the Water” hit harder than any double album. Each one feels like a chapter in a living Bible of soul survival. And with every performance—whether in a packed theater or a small-town benefit—she lays herself bare.
Miss Freddye isn't chasing trends. She's chasing truth. And in a world full of auto-tuned phoniness and algorithm-driven playlists, her unfiltered humanity feels like a balm. Her voice isn't just a sound—it's a sanctuary.
Today, she stands as a torchbearer for something sacred. In a genre often dominated by men and shackled by nostalgia, Miss Freddye is proof that the blues is not a museum piece—it's a living, breathing, hurting, healing thing. And it's in good hands.
So if you find yourself wandering, wounded by life's betrayals, tired of the noise, and hungry for something real, find your way to Miss Freddye. She'll be there—mic in hand, heart wide open—ready to sing you home.
USFEATURES.COM
If there’s one thing you learn after a few decades marinating in the jukebox slime of American music, it’s this: the real ones don’t scream for your attention. They sing from a place so deep it hurts, and most of the time, nobody’s listening. Miss Freddye has been doing exactly that for darn near thirty years.
Born and bred in Pittsburgh, Pennsylvania, a city whose soul is lined with steel mills and hard goodbyes, Miss Freddye cut her teeth in the late ’90s singing in church choirs before jumping headlong into the city’s smoky barrooms and busted-down clubs. She was the kind of singer who didn’t need a microphone but respected the heck out of one anyway. Somewhere along the way, she earned the title The Lady of the Blues, which sounds like a coronation but was really just a recognition: Freddye is the blues in Pittsburgh, and beyond, if the world ever bothers to pay attention.
She’s been nominated for Blues Foundation awards, toured endlessly with her bands: the Blues Band and Miss Freddye’s Homecookin’ Band; and worked her rearend off keeping traditional blues alive in a century that’s trying its best to kill it with Auto-Tune and Spotify algorithms. She’s a nurse by day, a singer by night, and a preacher of truth 24/7.
And now here comes Slippin’ Away, a single so drenched in heartache and hollowed-out hope it ought to come with a warning label: Will Reduce Tough Guys to Tears.
Written by Mike Lyzenga, who sadly left this mortal coil in 2022, Slippin’ Away isn’t a reinvention of the wheel. It’s a slow-burn blues ballad about love fading through your fingers like the last cigarette at the end of a bender. And Miss Freddye doesn’t just sing it; she lives it right there in the booth. This isn’t some sanitized, studio-massaged product. You can hear the ache in her breath between the lines. You can hear the cracks in the foundation.
Backing her up is a crew of pros who know when to swing and when to step back and let the story spill out: Mike Huston on guitar with lines that curl up like smoke, Jeff Conner on keys filling the cracks with melancholy gospel light, Greg Sejko’s bass thudding low and resigned, and Bob Dicola’s drums ticking like the last moments before heartbreak hits. They don’t overplay. They understand the assignment: get out of the way and let the blues bleed.
Produced by Miss Freddye herself (because at this point she knows better than to trust anyone else with her soul), the track rolls out slow, steady, and brutal. It’s a prayer at the altar of all the loves that got away, all the things you thought you could hold onto but couldn’t. It’s not pretty — it’s beautiful.
And here’s the rub: the critics love it. The blogs are handing it back with phrases like “soul-baring masterpiece” and “a testament to timeless artistry,” which is all fine and good. But listening to Slippin’ Away in 2024 feels like reading a telegram from another world. A world where the blues still mattered. Where songs weren’t just background noise for TikTok dances but weapons against despair.
See also 
Miss Freddye isn’t chasing trends. She’s standing knee-deep in the river of American music history, pulling bodies out one song at a time. She’s what you get when you don’t quit even when nobody’s clapping. She’s what you get when you understand that the real blues were never about fame, they were about survival.
Slippin’ Away isn’t just another notch on her belt. It’s a reminder that the real artists are still out there, crying into the void, and once in a while, the void cries back.
So listen. Not because it’s fashionable. Not because a playlist tells you to. Listen because someday your heart’s gonna slip away too, and when it does, you’re gonna need a song like this to make sense of it.
–Jackson Johnson
https://www.usfeatures.com/miss-freddyes-slippin-away-blues-for-a-world-that-doesnt-listen-anymore/
womensconference.org
Howlin’ Queens and Six-String Witches: The Fire-Breathing Women of Blues Today
Let me ask you something—when was the last time the blues shook you? Not gently tapped you on the shoulder and whispered about some heartbreak in the cotton fields, but grabbed you by the ribcage, dragged you through the swamp, and left you sobbing and screaming and strangely exhilarated under a neon moon? I’ll tell you when: the moment you gave up your preconceptions and let the women take over.
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Because the truth is, the future (and let’s be honest, the present) of the blues is not some bearded dude sweating over a Stratocaster. It’s being howled, wailed, shredded, and bled out by women who don’t just play the blues—they are the blues.
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And if you want the best darn proof of that, go listen to Miss Freddye’s “Slippin’ Away.” Seriously, go now. I’ll wait.
Okay, now that you’ve been properly soul-scorched, we can talk. Miss Freddye, Pittsburgh’s Queen of Blues, doesn’t sing that tune—she haunts it. “Slippin’ Away” is a slow-burn lament that oozes loss like a busted whiskey bottle on a barroom floor. Freddye’s voice is weathered velvet, strong as steel cables but frayed just enough to let the heartache bleed through. You can practically hear the ghosts of Koko Taylor and Big Mama Thornton giving her a standing ovation from the great juke joint in the sky.
This woman’s blues are rooted in gospel, grit, and a helluva lot of real-life mileage. She’s not here for frills or fame—she’s here to testify. And you’d better be ready to listen. Learn more, if you dare, at www.missfreddye.com.
But let’s head south—deep south. Like swamp-soaked delta shadows with a side of southern gothic sorcery. Enter The Curse of KK Hammond, who doesn’t just flirt with darkness—she dates it, dances with it, and invites it to burn the barn down. “Walk With Me Through the Fire” isn’t a song—it’s a spell. Hammond plays slide guitar like she’s summoning spirits, conjuring sounds that feel older than the land itself.
Her voice? A smoke-draped drawl, equal parts menace and moonlight. She’s got that rare, twisted alchemy of Robert Johnson’s crossroads mythos and PJ Harvey’s primal poetry. Find her at www.thecurseofkkhammond.com and bow down to the bayou queen (out of the UK) of apocalyptic blues.
And don’t think this is all backwoods and barstools. No, the blues is alive in the city, too—more specifically, in the slick, shimmering streets of Austin, Texas, where Jackie Venson slings blues licks like laser beams. This woman is a virtuosic menace with a Strat. Her track “Love Transcends” might sound like a plea for peace, but under the hood, it’s pure rebellion. Venson uses the blues to speak truth to power, and she does it with fingers that blur and a voice like fire in a velvet bottle.
She’s what happens when B.B. King and Prince share a soul, and it lands in the body of a Black woman unafraid to burn tradition to the ground.
Now let’s detour back to the UK, where Joanne Shaw Taylor is laying waste to stages and stereotypes. Don’t let the blonde curls and Brit accent fool you—she’s got the soul of a Mississippi juke joint preacher. Her song “Dyin’ to Know” doesn’t tiptoe around heartbreak—it walks in, kicks over the furniture, and demands answers. Joanne plays with all the subtlety of a freight train, and thank God for that. She doesn’t borrow from the greats—she builds on them.
And if you still think the blues is a man’s world, let Shemekia Copeland break that last illusion for you. She’s the daughter of Texas blues legend Johnny Copeland, but she doesn’t ride coattails—she tears them off. Her song “Ain’t Got Time for Hate” is a sledgehammer of righteous fury, wrapped in groove. Shemekia blends political fire with personal truth, and every note feels like it was forged in a furnace of social conscience and soul.
These five women—Miss Freddye, KK Hammond, Jackie Venson, Joanne Shaw Taylor, and Shemekia Copeland—aren’t just holding down the blues. They’re dragging it into the present, kicking and screaming, wrapped in chains of distortion and dripping with realness. They’re not stuck in the past—they own the past, and they’re re-writing the future with every stomped foot and snarled lyric.
So forget what you thought you knew about the blues. The next time you hear someone say “the blues is dead,” slap them gently (or not-so-gently) and hand them a playlist of these women. Because the blues isn’t just alive—it’s alive, it’s angry, and it’s absolutely female.
And if you’re not listening? Well… you’re the one who’s slippin’ away.
–Leslie Thomas
HipHop Amplified
Holding On to Heartache: Miss Freddye Channels the Blues Tradition on Slippin’ Away"
When Miss Freddye opens her mouth to sing, she doesn’t just perform—she confesses. And on Slippin’ Away, her latest single released in June 2024, the Pittsburgh-based vocalist delivers a performance steeped in the blues tradition: a lamentation of love lost, stripped to its emotional essence and laid bare for all to feel.
Written by the late Mike Lyzenga in 2018, Slippin’ Away is a torch song in the truest sense—sorrowful, aching, and resonant with every note. It’s the kind of tune that doesn’t just echo through the speakers but settles in your bones, stirring memories of love that once burned bright and now flickers in the shadows.
The recording, tracked at Red Caiman Media in Miss Freddye’s hometown, features a lineup of seasoned musicians who know exactly how to support a story this intimate. Mike Huston’s guitar lines are tasteful and aching, delivering slow blues phrasing that bends like a sigh. Jeff Conner lays down gentle, gospel-tinged keyboard textures, while Greg Sejko (bass) and Bob Dicola (drums) provide a steady, unhurried foundation that lets the space between notes breathe. There’s restraint here—a mark of musicians who understand the genre and know that in the blues, silence often speaks as loudly as sound.
But the soul of the song is Freddye’s voice. She doesn’t just sing the lyrics—she inhabits them. There’s weariness in her tone, but also resolve. When she sings, “I feel you slipping through my hands / like water I can’t hold,” it isn’t melodrama—it’s memory. It’s lived experience. And that’s what separates the real blues singers from the rest. There’s a quiet strength behind the sorrow, a sense of endurance that only comes from walking through the fire and finding the words to tell the tale afterward.
Freddye produced the track herself, and her choices reflect an artist who’s not chasing trends but honoring truth. The mix is clean but unvarnished—no frills, no unnecessary layers. The vocals sit right where they should: front and center, raw and immediate. This is music with callouses on its hands and stories behind its eyes.
Slippin’ Away speaks to anyone who’s ever loved hard and lost quietly. It’s a mirror held up to the heart.
In a world where blues is too often reduced to a genre tag or background flavor, Miss Freddye reminds us that it’s still a living language—a way of processing life, one aching phrase at a time. Slippin’ Away is not just another single; it’s a small, powerful reminder of what the blues has always been about: truth, struggle, and the beauty of what remains after the pain.
This is the blues as it’s meant to be—deep, deliberate, and utterly human. Miss Freddye doesn’t just keep the flame alive—she sings straight from the fire.
–Shannon Blue
Daily Music Roll
Blues has always been one of the most heartfelt genres, and ‘Slippin’ Away’ by Miss Freddye is the perfect representation of what the genre means to its listeners. It is a beautiful and emotional blues track that feels both timeless and deeply personal. The artist’s vocals carry so much soul and honesty, making the song the kind of performance that stops you in your tracks. There is a sense of raw vulnerability in the track that really brings the lyrics to life. Above all, what makes this song so powerful is its simplicity. The stripped-down production lets every word and note breathe. It is just pure emotion wrapped in a smooth and classic blues arrangement.
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The lyrics, written by the late Mike Lyzenga, tell a heartfelt story of love slowly slipping through your hands. That theme of quiet heartbreak is something many people can relate to, and Miss Freddye has captured that feeling effortlessly. The pain, the reflection, the longing, it is all there, and you can feel every bit of it. I like how the song does not try to overdo anything. It sticks to its roots while still feeling fresh and relevant. The mood and the tone come together perfectly to create something that lingers long after it ends.
Every aspect and component of ‘Slippin’ Away’ makes it a standout that showcases the artist’s talent, heart, and deep connection to the blues. If you are craving something soulful and sincere, this song can be your go-to. Listen to it on YouTube!
Song Link: https://www.youtube.com/watch?v=LeSyRlBicag
MusZoid Magazine
Blues has always been a genre of raw emotion and storytelling, and Miss Freddye's "Lady of the Blues" does not disappoint. This track is a masterful blend of stirring lyrics, meticulous production, and the unmistakable clarity of Miss Freddye's dynamic voice, which takes you straight to the heart of her story.
Lyrics
The lyrics of "Lady of the Blues" paint a vivid narrative of resilience, independence, and emotional depth. Lines such as "Uptown, independently free" and "Stirring deep inside of me your cold heart makes me blue" showcase Miss Freddye’s ability to translate universal feelings into personal and poignant storytelling. There’s a sense of defiance intertwined with vulnerability that shines through, as she balances heartbreak with a fierce sense of self.
One standout element is the refrain, "That is why everybody calls me lady of the blue." The repeated declaration hooks the listener and reinforces her identity—not just as a blues artist but as someone embodying the emotional essence of the genre. It’s introspective yet empowering, making it relatable for anyone who has faced challenges and still risen with strength.
Production
"Lady of the Blues" is a showcase of excellent production that allows each element to shine without overpowering Miss Freddye’s voice, which is the true star of the track. The instrumentation is rich yet restrained—a perfect combination for blues. The smooth guitar riffs and the steady rhythm section provide the perfect backdrop for her vocal performance. The interplay between the music and her voice creates a soulful charm that holds the listener's attention from start to finish.
The track's deliberate pacing adds further weight to its emotional resonance. The space within the arrangement allows each lyric to breathe, giving the listener a moment to fully absorb every word.
Clarity
Miss Freddye’s vocal clarity makes this track truly special. Her voice is full of character—both gritty and smooth as the song demands, with just the right amount of rasp to carry the emotion of the blues. Each phrase is delivered with precision, ensuring that the listener feels the depth of every word.
Even moments of conversational tone like, "You say you wanna argue? You say you wanna fight?" are delivered with razor-sharp enunciation, adding layers of personality to the song. Whether she's belting out the chorus or gently working through the verses, her delivery feels effortless yet profoundly impactful.
Overall Impression
"Lady of the Blues" is a powerful homage to the blues tradition while remaining contemporary and accessible. Miss Freddye brings authenticity and soul to every facet of this track, making it clear why she's earned her title as the "Lady of the Blues."
This is not just a song; it's an anthem for anyone who's weathered life's storms and come out the other side stronger. Miss Freddye reminds us all that the blues isn't just music—it's a celebration of survival and spirit. Whether you’re a long-time fan of blues or just dabbling in the genre, this track is one to add to your playlist.
Rating: ★★★★★
Must Listen For: Anyone who loves storytelling through music and appreciates a voice with grit and grace.
MTS Management Group
PITTSBURGH, PA – January 31, 2025 – MTS Management Group/MTS Records are proud to announce their outstanding success at the 2024 Independent Music Network (IMN) Awards, with multiple artists and the label itself receiving top honors. These awards recognize the best independent artists and industry professionals making a significant impact in mainstream and country music.
MTS 2024 IMN Award Winners:
Mainstream Category:
- Favorite Single – “I Feel So Good” – DPB
- Favorite Impact Artist – Bill Abernathy
Country Category:
- Favorite Single – “442” – Midnight Sky
- Country Breakout Single – “The Vice” – Luanne Hunt
- New Discovery Artist – Robert Ross
Additional Awards:
- Entertainer of the Year – Miss Freddye
- Record Label of the Year – MTS Records
- IMN Fan Favorite – Gary Pratt
MTS Records, under the leadership of Michael Stover, was honored as Record Label of the Year, a testament to its dedication to fostering independent talent and achieving remarkable success in the industry.
“This recognition means the world to us,” said Michael Stover, founder of MTS Management Group and MTS Records. “Our artists work tirelessly to create music that resonates with audiences, and to see them honored on this stage is truly rewarding. We are incredibly proud of each and every one of them.”
The Independent Music Network (IMN) aims to “level the playing field” for independent artists by connecting them with commercial and satellite radio opportunities. Their awards highlight the rising stars and standout talent in both mainstream and country music.
About MTS Management Group & MTS Records
Founded in 2010 by award-winning songwriter, musician, and producer Michael Stover, MTS Management Group is a full-service Record Label, artist management, publicity, and promotions company. Known for providing major exposure for indie artists, MTS has worked with some of the most promising independent talents in the industry.
MTS Records has achieved over 100 Top 40 New Music Weekly country chart singles, including 15 #1 hits, and multiple Top 10 Billboard Magazine chart placements. With an unwavering commitment to artist development and success, MTS continues to redefine the independent music landscape.
For more information about MTS Management Group and its artists, visit www.mtsmanagementgroup.com.
Indie Pulse Music
Blues powerhouse Miss Freddye has returned with not one but two poignant singles, “Let It Burn” and “Slippin’ Away,” marking a new chapter in her illustrious career. Known for her ability to channel raw emotion into her music, Miss Freddye reflects on the inspiration behind these tracks, her creative process, and the evolution of the blues genre. From collaborating with talented musicians like Jesse Landers and Hollis Greathouse to balancing tradition with modern flair, Miss Freddye’s artistry shines through. In this exclusive interview, she opens up about her mission to connect with audiences through storytelling, her roots in Pittsburgh’s vibrant music scene, and how she continues to use her voice for healing and community impact.
“Let It Burn” marks your first release in two years. What was the inspiration behind this powerful track, and how did you approach its recording process with your band? How did working with Jesse Landers and engineer Hollis Greathouse shape the final sound?
I love ballads, love stories. When Jesse Landers introduced me to his song, that first note I heard, I knew I could sing it from my heart! This song reminds of a relationship of love, yearning, and determination. My bandmates know when I bring them a song, they know it is going to be something people will get into and love! I asked Jesse his opinion on the flow of the song. I asked him for input on the tempo, the composition, the instrumentation, and the sound. He knew this song would become “Miss Freddye”. It would become one with me.
Hollis is not only an experienced engineer, but a fantastic musician with a great ear! We have worked together a few times and he knows my sound, my range, and what would work in the style I sing.
This makes it easy to work with people who have taken the time to get to know me, the singer!
“Slippin’ Away” is a deeply emotional song written by your late friend, Mike Lyzenga. How did it feel to bring his lyrics to life, and what personal meaning does the song hold for you? Was there a specific moment during the recording that stood out as particularly moving?
When Mike first introduced the song to me, the first note I knew I was going to do this song justice! Mike was a fantastic songwriter! His music was from the heart, which spoke volumes about him. When I first read the lyrics, they reminded me of my own heart and what I went thru at one time or another.
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The best moment was when my Homecookin Band recorded a video 4 years ago. The way we did that song was haunting, moving. I knew this song was going to be a hit!
When we recorded in the studio, at that moment I knew this was going to be a great love song! My bandmates took their time and added their hearts into the song!
Both “Let It Burn” and “Slippin’ Away” showcase different sides of your artistry. How do these singles reflect your growth as a blues singer and storyteller? Did you approach each song with a different mindset, given their contrasting themes?
Both are great love songs! I have found the audiences can definitely relate to them. I have heard many times how they can tell when I’m “into” the song. As a storyteller through the music I do, it is important to put in my emotions, my essence. Both songs are unique, but they tell different stories. Let It Burn tells of an already existing love that wants to intensify that love.
‘Slippin Away’ tells of a love that was there, but that love has its memories and asks where does go, where has it gone.
When I sing these songs, my mood is different. One song is longing to keep the love burning, the other song tells of a love that was once there, but now it’s just slippin away.
The lyrics in “Slippin’ Away” speak to love, loss, and longing. How do you channel such raw emotion into your performances, and what do you hope listeners take away from the song? Have fans shared any personal stories with you after hearing the track?
I can relate to this song. I put my “essence” in the song. This means the feel, the love, and the outcome. I have people come up to me and say they now how I feel. I have heard stories of broken relationships and stories of new relationships. It is when during those moments I have accomplished what I have set out to do, give the audiences connection.
Your music often draws from real-life experiences and deep emotions. How do you balance preserving the authenticity of the blues tradition with bringing your own modern flair to the genre? How have your influences, like Koko Taylor and Etta James, impacted your sound on these latest singles?
My motto is to stay true to myself, but be versatile. My influences have done this. Just like they did m I have built my own “essence” while keeping in mind traditions with some added modern touches. I learned over the years to focus on what moves me and how my audiences will react.
You’ve been a prominent figure in the Pittsburgh music scene for over two decades. How do you see the blues evolving, and what role do you hope your latest singles play in keeping the genre alive? How do you stay connected to your roots while continuing to evolve as an artist?
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I have to say the blues music is changing. I always welcome change! But, I keep in mind my roots, my influences. It can be easy to lose yourself and get caught up in the moments of popularity, of fame. I stay focused because I do not want my creativity interrupted by things that will not be on the same page as I am.
Beyond music, you’ve made an impact through charity work and community engagement. How do songs like “Let It Burn” and “Slippin’ Away” reflect your mission to use music as a force for healing and Connection? Are there any upcoming projects or charity events you’re excited to be a part of?
As the saying goes “music is a healer”! Singing about love and relationships gives a sense of closure. The closure means as a singer, I can express the things that mean the most to my audiences.
I am excited to be part of the following charity events for 2025! I will be joining “Pittsburgh’s Divas for ‘Hair Peace”, May 31, for raising money and awareness for women who are fighting cancer.
Every year I perform for “Rockin The Roosevelt” and Band Blast. These charity’s events raise money for the playground in Arnold, PA, for the kids to have a place to play and to be safe. I will be performing for “Back The Blue” in memory of police officers from the Alle-Kiski area who lost their lives in the line of duty. Also, I will be performing for Leechburg, PA Pink Day. This will be the last year for this charity event that raises money and awareness for The Breast Cancer Foundation.
I am currently working on my next single and album. I look forward to sharing the music with the world!
Trendy Magazine
2024 proved to be another incredible year for blues and R&B music, with a host of talented vocalists captivating audiences worldwide. From soulful crooners to powerhouse belters, these artists have poured their hearts and souls into their music, leaving an indelible mark on the industry. Let’s delve into some of the standout vocalists who have graced our ears this year.
The Reigning Queens
- Ruthie Foster: This veteran vocalist continues to mesmerize with her soulful voice and impeccable control. Her ability to infuse gospel, folk, and blues into her music creates a truly unique and unforgettable experience. Foster’s 2024 album showcased her vocal prowess, earning her critical acclaim and solidifying her place as a blues legend.
- SZA: Dominating the R&B charts, SZA’s sultry vocals and raw, honest lyrics have connected with a generation. Her ability to blend contemporary R&B with elements of soul and jazz makes her a standout in the modern music landscape.
- Victoria Monét: With a voice like liquid gold, Victoria Monét has enchanted listeners with her smooth vocals and captivating stage presence. Her music effortlessly blends classic R&B with modern influences, creating a sound that is both timeless and fresh.
Rising Stars
- Aqyila: A fresh voice on the R&B scene, Aqyila’s powerful vocals and nostalgic sound have garnered her a devoted following. Her music pays homage to the golden age of R&B while incorporating contemporary elements, making her an artist to watch in the coming years.
- Shae Universe: Hailing from the UK, Shae Universe is a rising star with a voice that is both soulful and captivating. Her music blends R&B, neo-soul, and jazz influences, creating a sound that is uniquely her own.
Hidden Gems
- Miss Freddye: A true gem in the blues world, Miss Freddye’s powerful vocals and commanding stage presence have earned her a loyal following. Her music is deeply rooted in the blues tradition, but she infuses it with her own unique style and energy. Miss Freddye’s live performances are legendary, and her 2024 album further cemented her status as a force to be reckoned with.
- J. Warner: With a voice that is both smooth and soulful, J. Warner is a rising star in the R&B world. His music is infused with elements of jazz and funk, creating a sound that is both modern and timeless.
Honoring the Legends
- Bobby Rush: A living legend in the blues world, Bobby Rush continues to captivate audiences with his soulful voice and electrifying stage presence.6 His music is a testament to the enduring power of the blues, and his influence on the genre is undeniable.
This is just a glimpse into the vibrant landscape of blues and R&B vocalists in 2024. These artists, along with many others, have enriched our lives with their music, reminding us of the power of the human voice to move, inspire, and connect us all.
https://trendymagazine.co.uk/the-soul-stirrers-celebrating-the-best-blues-rb-vocalists-of-2024/
ABC News
Pittsburgh’s Musical Heritage and Today’s Rising Stars
No discussion of Pittsburgh musicians would be complete without mentioning Miss Freddye, affectionately known as “Pittsburgh’s Lady of the Blues.” Miss Freddye’s voice is soulful, dynamic, and rich with experience. Her music pays homage to the blues traditions while infusing them with modern flair. Whether she’s belting out heartfelt ballads or upbeat blues-rock numbers, Miss Freddye captures the spirit of Pittsburgh—strong, soulful, and full of life.
Her accolades include regional awards and national recognition, but it’s her connection to the audience that sets her apart. Performing in Pittsburgh’s local venues and beyond, she keeps the blues alive and thriving, proving that the city’s working-class roots and musical traditions are inseparable.
https://abcnewsnow.uk/entertainment/pittsburghs-musical-heritage-and-todays-rising-stars
Americana Highways
Miss Freddye’s single, “Slippin’ Away” is a soul-stirring blues ballad that eloquently captures the raw emotions of love and loss. As one of Pittsburgh’s most celebrated blues artists, often affectionately called “The Lady of the Blues,” Miss Freddye continues to demonstrate her command over heartfelt storytelling and emotional nuance. This release stands as a testament to her enduring artistry and dedication to her craft, and, as she told Americana Highways, “I knew this would be a great ballad that people could relate to. I love singing ballads that project a strong meaning behind them!”
The track has its origins in a 2018 composition by the late Mike Lyzenga, a revered songwriter whose legacy is etched in emotionally resonant melodies and lyrical depth. Recorded at Red Caiman Media in Pittsburgh, “Slippin’ Away” was brought to life with the collaborative efforts of an impressive lineup of musicians. Mike Huston’s emotive guitar work, Jeff Conner’s soulful keyboard performance, Greg Sejko’s steady bass lines, and Bob Dicola’s dynamic drumming create a lush instrumental foundation that perfectly complements Miss Freddye’s powerful vocal delivery. We asked her “What makes this song special?” As she put it: “It was written by a dear friend of mine who suddenly passed away 3 years ago. He mentioned he had a song that would “fit” me. Well the first note I knew I was going to fall in love with the song! It is haunting and reminds me of a relationship I was in Some years back. I can relate to everything words of this song!”
Miss Freddye herself took on the role of producer for the single, ensuring that every note and lyric reflected her vision. This personal involvement adds an intimate layer to the song, as her connection to the material shines through in every element. The result is a polished yet deeply personal piece that resonates with listeners on a profound level.
From the opening notes, “Slippin’ Away” establishes a melancholic yet beautiful tone. The instrumentation is layered with intention, providing a rich sonic tapestry that allows Miss Freddye’s voice to take center stage. Her vocal performance is nothing short of mesmerizing; she sings with a vulnerability that draws listeners into the song’s emotional landscape. As she delivers lyrics about the gradual unraveling of a once-strong love, her voice quivers with both strength and fragility, embodying the push-and-pull of holding on and letting go.
Why does she hope listeners take away from this song? Miss Freddye told us: “I hope they not only can relate to the song, but take its advice and if they need to be reminded, continue to listen and share it with others! It is that kind of a song.”
Lyrically, “Slippin’ Away” is a poignant meditation on the inevitability of change in relationships. Lines such as “I feel you slipping through my hands / like water I can’t hold” evoke a visceral sense of loss, capturing the universal experience of watching love fade despite one’s best efforts. The words are simple yet profoundly impactful, offering a raw honesty that is both heart-wrenching and cathartic.
We asked Miss Freddye how important is it that music be a part of the healing process. She answered thoughtfully: “Oh, very important! I for one have music as my “go to.” I have my moods and music soothes me, gives me energy, takes me away to places, and it shows me clarity. Some people like to keep their lives private. But, they need an outlet. I have found throughout performing, it does just that for people I have met.”
The production choices further enhance the song’s impact. The instrumentation is deliberately understated, allowing the focus to remain on the lyrics and vocals. The subtle interplay between the guitar and keyboards mirrors the ebb and flow of emotions described in the song, while the rhythm section provides a steady grounding, reflecting the resilience required to endure heartbreak.
What sets “Slippin’ Away” apart is its ability to transcend genre boundaries. While deeply rooted in the blues tradition, the song also incorporates elements of soul and gospel, reflecting Miss Freddye’s versatility as an artist. This fusion creates a sound that feels both classic and contemporary, appealing to a broad audience. Longtime fans of the blues will appreciate the song’s authenticity and respect for tradition, while new listeners may find themselves drawn to its relatable themes and emotional resonance.
Miss Freddye’s decision to release “Slippin’ Away” as a single also reflects her commitment to sharing stories that matter. She has spoken about her desire to connect with listeners on a personal level, and this track exemplifies that mission. The song not only showcases her technical skill and vocal prowess but also her ability to communicate complex emotions with grace and honesty.
In the context of Miss Freddye’s broader discography, “Slippin’ Away” stands out as a significant milestone. It reinforces her reputation as a torchbearer for contemporary blues while showcasing her growth as an artist and producer. The single serves as a reminder of the power of music to heal, connect, and inspire.
Ultimately, “Slippin’ Away” is a deeply moving and beautifully crafted piece of music that cements Miss Freddye’s place as one of the most compelling voices in modern blues. Its poignant lyrics, emotive vocals, and rich instrumentation come together to create a timeless track that will resonate with listeners for years to come. Whether you’re a longtime fan of the blues or a newcomer to the genre, “Slippin’ Away”
is a must-listen that captures the heartache and beauty of love’s fleeting nature.
https://americanahighways.org/2024/11/21/interview-miss-freddye-on-slippin-away/
Atlanta Wire
Miss Freddye, Pittsburgh’s beloved “Lady of the Blues,” delivers a profoundly moving and emotional experience in her latest single, “Slippin’ Away.” Released on June 14, 2024, this soul-stirring track is a masterful blend of blues tradition and raw human emotion, showcasing her powerful voice and deep connection to the material. The song, originally penned by the late Mike Lyzenga, is a poignant reflection on love fading away, underscored by heartache and longing. Through Miss Freddye’s emotive interpretation, “Slippin’ Away” becomes not only a tribute to Lyzenga but also a testament to her musical prowess and ability to touch listeners on a deeply personal level.
A Masterclass in Emotional Storytelling
From the opening lines, “I don’t know, where we’re goin’ / I don’t know, where we’ve been,” it’s clear that “Slippin’ Away” taps into the universal themes of confusion and loss. Miss Freddye’s vocal delivery is haunting and rich, enveloping the listener in the uncertainty and pain of a relationship unraveling. The evocative lyrics and her heartfelt performance instantly strike a chord with the listener, reminding us of those moments when love feels like it’s slipping through our fingers, no matter how hard we try to hold on.
Miss Freddye has always had a gift for storytelling, and this track is no exception. Each lyric feels deeply personal, as though she’s lived every word. The emotional weight she brings to Lyzenga’s words elevates the song beyond a typical blues ballad. She sings not just from the head but from the heart, making it impossible not to feel the ache and sorrow in each note. The repetition of the line “Do you feel our love…slippin’ away” is especially powerful, capturing the painful realization that love, once so strong, is slowly fading.
The Musical Craftsmanship
While Miss Freddye’s vocals are the star of the show, the musicians backing her provide a perfectly balanced foundation. Mike Huston’s guitar work is subtle yet evocative, adding texture without overpowering the track. His lead break in the middle of the song is a brief yet poignant expression of the emotional storm brewing beneath the surface. Jeff Conner’s keys, alongside Greg Sejko on bass and Bob Dicola on drums, offer a soulful rhythm section that complements the melancholic mood of the song. Each instrument plays its role in highlighting Miss Freddye’s voice, allowing her delivery to shine without unnecessary embellishment.
The production, handled by Miss Freddye herself, preserves the song’s emotional intensity. Recorded at Red Caiman Media in the North Hills of Pittsburgh, the track has a clean and polished sound that still feels organic and raw, a difficult balance to strike in the modern blues landscape. Keeping the arrangement relatively sparse ensures that the focus remains on the lyrics and Miss Freddye’s vocal performance, allowing the emotion to breathe and expand.
A Tribute to Mike Lyzenga
“Slippin’ Away” holds special significance for Miss Freddye and the late Mike Lyzenga, who wrote the song in 2018. His lyrics, deeply personal and full of vivid imagery, are brought to life by Miss Freddye’s passionate interpretation. Through her delivery, Lyzenga’s words take on new meaning, resonating with anyone who has experienced the heartache of love slipping away. Miss Freddye approached the song with deep respect and sensitivity, honoring Lyzenga’s legacy while making the song her own.
A Soulful Journey Through Heartache
Miss Freddye’s “Slippin’ Away” is a stunning blues ballad that captures the heartache and sorrow of love lost. Her powerful, soulful voice, combined with the evocative lyrics and subtle yet effective instrumentation, creates a deeply emotional experience that resonates long after the song has ended. As always, Miss Freddye proves herself to be a masterful interpreter of the blues, capable of conveying the deepest of human emotions through her music.
Whether you’re a long-time fan of the blues or a newcomer, “Slippin’ Away” is a track that will leave a lasting impression. It showcases why Miss Freddye remains a powerhouse in the world of blues music. With its poignant themes and unforgettable delivery, this single will resonate with listeners and cement Miss Freddye’s place as one of the contemporary blues’ authentic and heartfelt voices.