Libbie Linton is a mild-mannered, soft-spoken type who likes math and limeade. She learned how to whistle when she was 3-years old, sitting cross-legged on the floor of her bedroom. When she was in kindergarten, she started memorizing the words to popular songs and singing them quietly to herself. Around this time, she happened to catch the campfire scene from “The Jerk” in which Steve Martin and Bernadette Peters sing a lovely rendition of the old Billy Rose and Lee David classic, “Tonight You Belong to Me”. From this point forward, the dream was to sing this song for an audience, which has since been accomplished. Early influences led to a proclivity for progressive folk themes and for writing unique, memorable, and literate songs.
Linton began performing at crowded house shows while in her early college years. Eventually, this led to 2006 home recording of 7 songs, packaged one-by-one in sewn cases, titled “The Shackleton EP”. Since the Shackleton EP was released, Linton has further developed her own idiosyncratic style.
A debut full-length album entitled “Bird Wings in the Bleak” was released April 23, 2009. This record is a collection of 12 songs with "eloquent vocals and somehow heartening melancholy" (SLUG Magazine). The album instrumentation varies from bare guitar and voice to more complex arrangements of banjo, ukulele, piano, violin, electric guitar, harmonica, glockenspiel, bass, tuba, and percussion. Lyrically, the album is full of distinctive phrasing and unique lines. Regardless of the subject matter, perhaps Linton’s most memorable quality is an ability to sing only like she means every word.
Libbie has performed concerts throughout the west. Notably, she has performed at venues like The Hotel Cafe in Los Angeles and with artists like Jonathan Richman, The Great Lake Swimmers, Horse Feathers, Faded Paper Figures, Joshua James and many more. In May, she completed a Masters Degree in Biological Engineering at Utah State University, and is now spending her time writing, recording, and playing music.
“Linton’s voice—best described as a slightly more tremulous female version of folk legend Nick Drake’s ear-catching pipes—has turned out to be one of her strongest musical assets. There are throngs of female singer-songwriters with acoustic guitars, but only a select few—even on the local level—can hold an audience and build a following. When it comes to vocals, unique is not a liability. Unique is as good as it gets.”
— Jenny Poplar, Salt Lake City Weekly
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