Jenni Dale Lord Band
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Jenni Dale Lord Band

Lubbock, Texas, United States | Established. Jan 01, 2012

Lubbock, Texas, United States
Established on Jan, 2012
Band Americana Country




"Fallout Shelter Review"

The long running question about 'nature vs. nurture' can often arise when it comes to music. Is there something about the Mississippi Delta water or the prominent hard times of racism that resulted in most of the great blues pioneers rising from that fertile ground? And what about it the innate "attitude" or is there something about the soil that sprouts so many great musicians and songwriters?

Jenni Dale Lord grew up in Lubbock, TX...the same Lubbock that claims Buddy Holly, Mac Davis, Natalie Maines, Delbert McClinton, Joe Ely and a host of others. She's not on those lofty plains just yet but if history has it's way her songwriting and majestic voice may put her on the path that will one day include a road sign just for her. The songs are strong, heartfelt in one breath and whiskey soaked with "don't fuck with me I'm from Texas" attitude in the next. The 'red-dirt' Texas country sound has a life of it's own outside the watered down, adolescent pap that has become Nashville country music and singer/songwriters like Jenni Dale Lord reap the benefits. That's a good music should be more of an attitude and less a commercial for beer, trucks and misogyny.

There's no doubt these songs can stand on their own and that Jenni Dale Lord can sit on a barstool by herself and more than adequately convey the softness of a song like 'Out of the Blue.' When your playing a 'home game' you can add a full band and all of the texture that allows...when you're on the road with the inherent costs of lugging around musicians you had better have a repertoire that holds up on it's own. Bringing a guitar slinger like Steve Lott along not only adds a substantial layer of texture it also adds a layer of comfort for an up and coming musician 1000 miles from the comforts of home. Lott is a seasoned pro that has mentored many young performers on professionalism, performance art and structure.

Where Jenni Dale Lord separates herself from a crowded pack is sheer attitude and confidence in her material and that comes back to the West Texas roots. She's brash but not cocky. She can deliver the 'cheap motel' pulp novel score 'Free Whiskey' with a sweet innocence that's almost humorous and entirely believable and then flip to an all-to-familiar relationship gone bad saga like 'Already Gone' with ease. Melodic songs with tight, biting lyrics delivered with power, confidence and woman-in-charge chutzpah...gotta love that!

-Bill Hurley - Fallout Magazine

"Never Let Go - Review"

“Texas Americana with a kick. That’s how I would describe the new album “Never Let Go” by the Jenni Dale Lord Band. To start with, the songwriting is superb. The lyrics are real and tangible, they spin emotions right into the music. Jenni has a razor sharp voice and a great ear for phrasing. Not only is she a great singer, she knows how to sing a song and connect with the listener. The new single “There We Were” is out now (featuring Kent Mings), it’s a hit that will get stuck in your head and have you singing along. I am partial to the title cut “Never Let Go,” that’s the one I have on repeat at the moment. The lovely lady from Lubbock delivers big time with this CD, pick it up and thank me later!”

-Kenny Graves - Bridge the Beats Magazine

" Review"

There is an element of pure country in Jenni Dale’s music, but her songwriting and performances are an amalgam of country, rock, blues, folk, and more, making her style unique and all her own... She IS going places, and fast … I was listening to her CD, and I was thinking how “Willie” has “monster hit” written all over it. It’s catchy, clever, and there’s not a wasted word or note in the whole song.

-Paul Johnson -

"Free Whiskey Album Review"

The Jenni Dale Lord Band Free Whiskey Independent Release

One of the rewarding joys of ageing is getting to watch and learn from seasons of maturity. Some of us mature slowly. We need time to hone our powers of observation, our capacities to process what we observe, and our abilities to express the outcome of those cognitive activities. Others of us seem born with that kind of maturity. They seem able to read the world — to interpret life in all its moments and facets, in all its attendant emotion, those that are dark and those that are radiant and transcendent — and to express what they read in ways that let the rest of us connect to their reading simply and beautifully. One such person born with that kind of maturity is Jenni Dale Lord.

In November of 2014, I was granted the privilege of reviewing Jenni’s previous release, Never Let Go . At that point, she was already mature beyond her years. Never Let Go was more than promising. Jenni’s voice, the singular voice comprising her authorial voice and her singing voice, was already distinctly discernible. Her writing was insightful and confident. Her singing was effectively evocative. Regardless of whether you’re inclined to think she’d found her calling, or her calling had found her, she was quite clearly where she belonged. And so it is with Free Whiskey .

As an indication of her artistic-vision-as-unifying-force, Jenni is accompanied by the same band with which she recorded Never Let Go , with one exception. The venerable Steve Lott still plays lead guitar. Andrew Mason still plays bass. But Bucky Broadus has replaced Tony Garcia behind the drums (although, Tony guests on percussion). And Free Whiskey boasts a long list of backing vocalists and guest musicians. But no one steals the show from the band. And nothing overshadows the brilliance of Jenni Dale Lord’s talent. The proof is right here:

Free Whiskey : The title track opens like a Pandora’s box of unexpected surprises, all of them intriguing and enjoyable. From the first swell of the horn section to Steve Lott’s layered guitar tracks, from Andrew Mason’s walking bass lines to Roy Agee’s trombone fills, from Bucky Broadus’ brushed snare to the rueful knowingness of Jenni’s lyrics, we’re put on notice: This disc will be estimable by any measure. Stick around.

Back There Again : Aside from the soft beauty of its melody and Jenni’s delivery, this is all you need to contemplate about this song:

But when I was seventeen
And they crowned me cotton queen,
Gravity was my friend.
Oh, to be back there again.

I don’t know what’s more touching about that lyric — its gentle, longing whimsy or the fact that a woman so young can sing it so beautifully, with a peaceful acceptance that suggests all of life is exactly as it should be. If the combination of yearning and celebration in this song doesn’t get you, it’s time to have your tear ducts checked.

Someone to Believe : Why is it that the most subtle wallops are the most powerful? If this track weren’t a stone showcase for every one of Jenni Dale Lord’s gifts (it is), it would be a showcase for Steve Lott. I’ll refrain from spoilers about the story this song tells. But I have to say the sympathetic interplay between Jenni and Steve is magical, mystical. As many times as I’ve played the cut, I’ve never decided if I’m listening for the lyrics, for Jenni’s voice, or for Steve’s fills and lead parts. Thank God I don’t have to choose or know. Neither do you. Just cue it up and revel in the artistry.

Me and My Brother : Imagine having the audacity to put Commander Cody , Lyle Lovett , Jim Whitman , and Ogden Nash in a blender. Imagine having the talent to pull it off. Now imagine making it sound effortless, to say nothing of careening, pedal-to-the-metal fun. I’d have been skeptical that a young lady as gentle and poetic as Jenni could conjure a convincing Bonnie to her brother’s Clyde. I’d also have been wrong. And I don’t know who made the decision to let Steve Lott play his guitar with reckless raunch on this track. But it was the right decision. Buckle up.

When I Drink : A lesser person, a lesser talent, a lesser purveyor of the language would have named this aching, slow waltz “I Only Dance When I Drink”. But Jenni Dale Lord is too big a person with too much talent and too keen an appreciation of the language to telegraph and lessen the arresting irony of her own double entendre. In its every aspect, this song is wise in its self-awareness, fearless in its openness, and heartachingly beautiful.

Already Gone : More than anything else, I’d like to have been in the studio when this track was cut. I’d like to have seen the mutual admiration in the eyes of Jenni Dale Lord and Joe Ely. (Ely has to see Jenni as one of his musical progeny.) I’d like to have seen Bucky Broadus play his drums so deftly. I’d like to have seen Andrew Mason smile, knowing he could have played many more bass notes but didn’t need to. I’d like to have seen Steve Lott weave his wizardry so sympathetically. I’d like to have asked Jenni how one so young can capture the agonizing intricacy of relationships so deeply and succinctly. And I’d like to have seen the expressions on all of their faces when they realized what they’d created.

Predictable (Here It Goes) : I don’t know if the absence of credit for the arrangements on this disc is an oversight or if the arrangements were a group effort requiring no particular credit. But the arrangement on this track is every bit as affecting as the sentiments expressed, as Jenni’s voice. Maybe it’s in deference to the syllabic sophistication of Jenni’s lyrics (“Please forgive my predictability/I know that that's your least favorite quality in me”). Maybe it’s out of pure complementary musicianship. I don’t know. But the notes not played in this track — the restraint, the reflective space, the need to force nothing — makes the listening all the more engaging and the emotional pull all the more touching.

I Need a Broken Heart : What? When I read the title of this track, I opened the lyrics I received with the disc and read them before I played the track. I had to know: Who needs a broken heart? Why? I found part of the answer in the punch line: “But darlin’ don't be gone too long/I just need time to write one song.” But I still wasn’t prepared for what I heard. The horn section is in your face, accentuated with hand claps. The rhythm is Calypso-meets-New Orleans. And Jenni, with her tongue
firmly in her cheek, is ready to suffer the slings and arrows of outrageous loneliness to get her Muse back. Nice twist.

Country Rock and Roll : Today’s Pop Quiz is brought to you by the Jenni Dale Lord Band. Here we go: Who had the biggest smile:

A. Jenni when she cleverly riffed off of lyrics from the Beatles and the Rolling Stones?
B. Steve Lott when he swapped lead lines and then harmonized with Kyle Aaron’s fiddle?
C. Andrew Mason and Bucky Broadus when they created a pocket deep enough to hold a Texas-sized bankroll?
D. Me, when I realized I’d been sitting with a huge grin plastered across my mug for three minutes and 52 seconds without even blinking?
E. All of the above.

And the answer is: Who the hell cares? Any time you can have this much fun doing anything, don’t question it. Just do it. Then, if you can get away with it, do it again.

Find the Words : The instrumentation here recalls the work Sir George Martin did with the Beatles, particularly the strings he used in “Yesterday” (against Paul McCartney’s wishes) and “Eleanor Rigby”. Since the disc is dedicated to Jenni Dale Lord’s dad, who passed away on December 19, 2015, I presume this track was written for him. It’s a beautiful evocation of the struggle to process grief, loss, and finality: “Find the words/To say I’ll never love a better man/Find the words/To tell my heart be brave/You’re off in some better place/Than here on Earth/That’s what I’ve heard/But I just can’t find the words.” Starting with Jenni’s strummed chords on an acoustic guitar, over which Steve Lott plays a melodic, electric, overdriven lead line, violins and cellos find their way in on the first chorus. Their sadness is palpable. And as Steve’s final solo fades away, the strings punctuate the last 30 seconds of the track emphatically and dramatically before holding an abruptly final bowed note. You can feel the pain of their passing.

Trust : The first time I drove over the Chesapeake Bay Bridge-Tunnel , I imagined being the guy in whatever meeting who said for the first time, “Hey! You know what we can do?” When I heard Steve Lott’s furiously overdriven guitars opening this track, I imagined Steve saying something quite similar: “Hey, Jenni! You know what we can do?” The guitars don’t have to bridge a body of water, but they do have to segue into a very poignant reflection on betrayal and resolve. And they descend masterfully into roiling rhythm riffs that rendezvous with the bass and drums solidly behind Jenni Dale Lord’s impassioned vocals: “There’s nothing left for us to say/’Cause I don’t trust you with my heart.” This track is a musical and emotional match, note for note and word for word.

Where Are You Now : This track plays like a long, languid anguish. Jenni Dale Lord’s voice smolders with a longing passion that will no longer be requited: “It was a cold, cold December/But the heat our bodies made/Could’ve burnt down the house/Where are you now?” The anger hinted at by the syncopated rhythm chirp with which Steve Lott opens the cut is unleashed in his scorching solo, made ethereal by playing it through reverb and delay. After the second verse, Andrew Mason shows the adroitness of his own talent, adding melodic lines that play as a counter-narrative to Jenni’s plaintive lyrics, managing to be at once attention-grabbing and subtle. And this track may be the measure of Bucky Broadus’s own artistry: It wasn’t until the third listen that I noticed what he was doing with his bass drum. Alternating single and double kicks — with faint, syncopated taps on his snare drum that echo Steve Lott’s opening chords — he holds the time like an anchor. And when it’s time to pick it up, his snare is like a slightly muffled rifle shot, with a spare sprinkling of cymbal over the top. No clutter. Nothing unnecessary. All class and controlled finesse. It takes a while to get over the throbbing in your chest after this cut.

Being Me: The final track on the disc strikes an unorthodox and uncanny balance of melancholy and self-satisfaction, of self-defeat and comfort in one’s skin: “Tomorrow I’ll face the cold truth once again/When I wake alone while she’s kissing your chin/And I’ll turn to your pillow, confused, but I’ll grin/From a lifetime of being me.” The music plays like a Tyrolean waltz, with Steve Lott’s acoustic guitar dancing lyrical figures around Wade McNutt’s accordion. And the lasting effect is one of wonder: Even at the end of another ruthless self-examination, Jenni Dale Lord emerges whole, strong, triumphant.

In the interest of full disclosure, I have to say I’ve been a fan and reviewer of Steve Lott’s work for more than 20 years. It pleases me immensely to hear, to know, Jenni Dale Lord has inspired Steve’s best work to date. I don’t know for whom I should be happier — Steve for finding Jenni or Jenni for finding Steve. But I do know their finding each other cannot be an accident. Musical relationships like this are gifts of the spirit. Talents like these are gifts of the spirit. And the paths of these two spirits were intended to cross. We’re beneficiaries of the fact that they recognized the gifts when they were given them. And for that, we should be as honored as we are grateful for their sharing those gifts.

Since Free Whiskey is the work of the band that bears Jenni Dale Lord’s name, and since she wrote every song on the disc, I tip my hat to Jenni for finding the work of her heart, for sharing that work so generously, for honing her talent so diligently, and for having the courage to do all three. I can’t be sure where she goes from here. No one can be sure. We can only be sure it will be up.

In my review of Never Let Go, I wrote this: “The disc that follows this one is breathtaking to imagine.” I’ll gladly suffer accusations of immodesty to say I’ve never been happier to be correct. And I’m humbled to bear witness to this season of Jenni Dale Lord’s maturity.

Mark O'Brien
December 2016 - Mark O'Brien - O'Brien Communications group

"Never Let Go CD Review"

"Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn." (Eliot, T.S., The Sacred Wood)

By T.S. Eliot's definition, Jenni Dale Lord is a poet both mature and good. She's young. But she's mature enough to have solution well and artfully as evidenced by an assortment of recognizable shards throughout this disc. And she's good enough to have turned those shards from random splinters into songs very much different from their sources. After all, it's long-since established: "There is nothing new under the sun." (Ecclesiastes 1:9).

By any definition, Jenni Dale Lord also is canny enough to have assembled one crack unit to constitute her band. Steve Lott, lead guitarist, is a veteran of the road and his own 20-year international recording career. Andrew Mason is a young bassist who plays with the accomplished understated grace of an old pro. And drummer, Tony Garcia, has an infallible feel for the pocket and just enough flair to be perfect. As for the material, that speaks for itself. - Mark O'Brien - O'Brien Communications Group

"Art Dissections by Andy Eppler"

The first thing that is really striking to me about this album is the voice that is featured on it. Jenni’s voice is that of a strong woman and even though she is often singing sweetly, it doesn’t play like what you might call a “girl song”. That is, I’m sad to say, a rare thing to hear these days. She sounds powerful. This kind of performance is unique and there is no “girl song” feel undermining the album. This is a straight songwriting album, as far as I can tell. The lyrics are fun and well put together. They flow nicely and make for easy and positively charged listening. As the hippies might say, this record has “good vibes”.

The overall production values are high across the board. I don’t know what prices are like at Crossroads Recording Studio in Lubbock, Texas but this shit sounds expensive. Tones are warm and close. The guitars are impressively played and carry most of the groove of these tunes. There are a few examples of “Holy Fucking Shit” electric guitar solos on here as well. In the mastering seat on this album is local legend Alan Crossland and his collected years as a tone smith are on display here as well. Nothing is lost or jumbled or bleeding into the tonal territory of another instrument. I love this kind of mixing because it’s easy to hear individual instruments and follow their parts.

I think Jenni deserves an album this good. She has content worth producing and sharing. I’m glad she’s in the game. As far as standout tracks are concerned, there are several worth mentioning in more detail. The first one I really stopped and played again was “Lover, Don’t Leave” it stands apart musically from the rest of the tunes with minor tonality and a sort of Santana type guitar attack. It’s a really strong tune about doin’ it. I was actually surprised by the level of sexual content in it. It’s very sensual and flirts with crossing the line into the graphic. It’s excellently written and finds the balance between sweet and dirty. The phrase “I’ll make you cum more” is one that calls for applause around my house. Clever and sexy is always a winning mix.

Another especially strong tune on Jenni’s self-titled record is “Willie” which is a total classic in the making. It’s one of those that could, I imagine, be picked up by some Nashville debutant show pony and provide Jenni a well deserved pay day. Jenni comes off as “Miss Bad Ass” sitting comfortably in some grime slicked Texas draft house. Strong tune. It sounds authentic and unforced because she’s a good Texas girl at heart.

Another song I want to mention from this record is the first one on the disc. It’s called “A New Me” and it’s a pretty basic country tune recorded and composed with a wink to pristine classic country. It sounds like it’s a cover of some older song from the golden age of this music but it’s a fresh original from a strong songwriter who knows what pieces need to come together to create a well balanced song like this one.

Over all I’d say that this album is an insta-purchase for anyone who loves music from West Texas. The flavors of the area are captured well and mixed with a level of creativity and respect for the genre that is rare and lovely. I would probably classify this as “West Texas Soul” which is music that simply couldn’t come from somewhere else and carries the stain of the flatlands on it. For enthusiasts of Lubbock music history I think this is an album to take note of. I hope you will pick it up and visit the site as well.

Featured performers are JT Paz, The Eddy Weir, Dr. Curtis Peoples, Brian Dunhan, The Legend John Hartin, Lonnie Joe Howell, Steve Anderson, Amy DeVoge, Mike Morgan and Terry Vincent. -

"Reboot Album Review"

While a song from her previous album continues to climb the Texas charts (“Already Gone” is currently #25 on TRRR), Jenni Dale Lord Band dropped a new album on us last week; that album is called ‘Reboot’ and it’s a stunner. There is a comforting familiarity to her music, even on first listen; this is the kind of artist that will make a new fan out of you when you weren’t looking.

Jenni is one that just spits out earworm after earworm. Each of her albums has a distinctly different sound, and while I enjoy them all, ‘Reboot’ has a lyrical style that conveys well with her vocals and effortlessly finds a spot in the corner of my brain.

‘Reboot’ came in under the radar for me; I was turned onto Jenni’s current radio single, but I gravitated to her new album almost immediately, falling in love with its varying degrees of honky-tonk and folky Americana. With lyrical content that feels like it was written from the corner booth of a low-lit down-and-outer bar, this one will hit you right in your country soft spot.

Jenni’s voice has a style that doesn’t need to prove it’s feminine; it doesn’t drip with sugary sweetness, there is power and confidence in her delivery. That’s not to say that it’s trying to be something it’s not, quite the contrary, I don’t think for a second that there is anything but honesty and reality in the delivery of her emotional lyrics. Some of the analogies and comparisons might seem cliché with someone else delivering them, but Jenni sings them in a way that leads us to believe this is just a snippet of the highlight (Or Lowlight?) reel of her life.

I’d be remiss if I didn’t mention the quality of the players and production on this whole recording. This is an album that could stand alone on lyrics and vocals, but it’s so much better for the quality of its layout and well-played instrumentals. I often find myself more drawn to stripped down music, but I’m very impressed with how perfect everything works together to create such a well-rounded album.

“A New Me” is a fun one to lead with; it sets the tone for the album, letting us know that this isn’t going to be just another sappy love song album. While we are treated to a couple love songs, this album is going to resonate for its eloquently written heartbreak songs. “I Think He Still Loves Me”, “Smile”, “A New Me”, and “Cigarettes and Alcohol” all have well assembled relatable lyrics and creative instrumentals. It’s albums like this that sneak up on me, reminding me just how much great music there is out there that I simply haven’t heard yet.

-Douglas Palmer, -


Jenni Dale Lord (self-title) - 2012

Never Let Go - 2014

Free Whiskey - 2016

REBOOT - 2018



Part Texas, part Bakersfield, part old school and new, Jenni Dale Lord Band has created a style all its own, blending elements of country, rock, and blues into one tasty emulsification.

Jenni Dale Lord rocked the live music capital of the world, Austin, Texas, for over a decade, but has since returned to her roots in Lubbock to claim her place in the West Texas music scene.  After years of writing music on her own, Jenni Dale rounded up a group of amazing musicians to take her songs and set them on fire. Their high-energy and heartstring-pulling show entertains audiences far and wide.

Jenni Dale Lord Band includes acoustic guitar, electric guitar, bass, keys, and drums, but often brings in guest players and instruments. With three successful albums and several charted radio singles, including a duet with the incomparable Joe Ely, the band is working on its fourth studio album set to release in 2020. Stay tuned!

Band Members