Rich Adams makes no apology for his raw and honest approach to writing. Drawing deeply from personal experience in love, heartbreak, and forgiveness in our rapidly shifting culture, this singer-songwriter delivers his themes via a blend of unique rock and alt-country flavors.

His passion for songwriting translates to his live shows and he has earned opening slots for national artists including Chris Barron (Spin Doctors), Marah, Hollis Brown, Matthew Ryan, Willie Nile, Kim Richey, Michael McDermott, Adam Masterson, Don Dilego, Kelley Swindall, and Christine Santelli.

Growing up on the outskirts of New York City, Adams cut his teeth playing relentlessly on the NYC music scene in the 90s and early 2000s. After spending the better part of the last decade behind the scenes as a film composer and sound engineer, Rich returned to the stage in 2017, releasing the EP, Sleepless Nights and the Rat Race Highs.  Singles from the EP, including Burning Daylight and Talk to Me, quickly became fan live show favorites. In October, while listening to Sunday football in the car with his son, Rich was surprised to hear his song, Last Time, open the broadcast on CBS Sports Radio. The song was used as a bumper in rotation on various broadcasts throughout the season.

In early 2018, Adams set up shop at 1935 in Philadelphia. With Pete Rydberg engineering, he was joined by Mike “Slo-Mo” Brenner (Marah, The Low Road, No Good Sister) on slide, pedal steel and bass, Mark Schreiber (John Train, No Good Sister) on drums, John Cunningham (No Good Sister) on bass and keys, Sarah Larsen (Hurricane Hoss) on fiddle and Meaghan Kyle (No Good Sister) on backing vocals. The Midnight Gospel Hour was born with 11 songs that embark on a journey reflecting our shared humanity, failures, and hope for redemption.

The first single, Villains and Pariahs, is infused with alternating steel and fiddle riffs, and features Nashville guitarist, Brian Wright. It tackles the issue of how senselessly a community can judge someone for their point of view, mistakes, or race, ignoring the basic principle that we are all human.

Go ahead and cast your stones since you’re without sin
No fault in the mirror or the color of your skin
This town’s quick to judge as if it’s plain to see
Send me off to exile then text a prayer to me

Adams’ art offers insight into his own unique experience, but there’s a quiet invitation offered to his audience to explore complex personal depths. With Bury the Truth, we’re prompted to reflect on why a heavy heart sometimes needs a reprieve from reality.

Subjects explored in his writing can be vividly haunting, yet Adams weaves shimmering arrangements with texture and energy that ultimately uplift, perhaps even persuading us to conclude that perceived demons we wrestle with are bearing gifts, drawing a map with roads leading to a place we need to be.

 

 

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