Digney Fignus Delivers Americana with Bite and Bruise on Black and Blue: The Brick Hill Sessions

There’s a particular kind of American troubadour who ages like a barrel of Tennessee whiskey—tough, complex, and just the right kind of dangerous. Digney Fignus is one of them. With Black and Blue: The Brick Hill Sessions, the Boston punk alum turned Cape Cod roots philosopher gives us a gritty, soulful, and politically charged record that cuts deep, grooves hard, and holds nothing back.

Fignus may have come up through the clubs and chaos of the early ‘80s underground—remember MTV’s Basement Tapes and his cult-classic “The Girl with the Curious Hand”?—but his latest LP proves he’s still evolving, still pushing, and still armed with something to say. Recorded over six years with producer Jon Evans (Tori Amos, Sarah McLachlan) at Brick Hill Studio, Black and Blue sounds timeless without being nostalgic. It’s an Americana record in the truest sense: rebellious, rootsy, and unapologetically honest.

The lead single, “The Emperor Wears No Clothes,” is already turning heads, having hit #19 on the UK iTunes Alternative Chart. It’s no surprise. The song is a standout—equal parts folk parable and protest anthem, with mandolins, spoons, and satire colliding in a groove-driven takedown of power and illusion. It’s the kind of track that feels tailor-made for our disillusioned times: sharp, danceable, and quietly furious.

But Fignus doesn’t just deal in politics—he paints the full human picture. “Black and Blue,” the opening title track, is a slow-burning lament for a world on fire, with Fignus’ weathered voice delivering lines like “I cry for all the children, who never will grow old” over a gently pulsing rhythm section. It’s not overwrought—it’s honest. And that’s what makes it hit.

Then there’s “Nowhere Boogie,” a full-throttle slice of road-trip rock ‘n’ roll, all smoky slide guitars and late-night neon reflections. “She’s Good Lookin’” and “Skinny Minnie” bring the swagger, rolling back the clock to a time when jukeboxes ruled and lyrics winked with innuendo. They’re tongue-in-cheek, sure—but they never feel cheap.

“American Rose” slows things down to Springsteen levels of cinematic melancholy. It’s a story song, a worn-out postcard from a woman chasing stars in Hollywood. It’s beautiful, tragic, and delivered with heart.

Across the album, Fignus surrounds himself with a tight cast of musicians—Chris Leadbetter’s lead guitar work is nimble and emotive, while Fred MaGee’s keys add vintage warmth. The arrangements are textured but never overdone, letting the lyrics and melodies lead the way. It’s clear Fignus and Evans made this record with care and intent.

Black and Blue is already climbing the Americana Music Association’s airplay chart, and deservedly so. It’s the sound of an artist who’s seen the world change and refuses to stay quiet about it. Digney Fignus may be bruised, but he’s not beaten. This album is proof that sometimes, the most resonant voices come from those who’ve taken a few hits—and kept on singing.

Essential Tracks: “The Emperor Wears No Clothes,” “Black and Blue,” “American Rose,” “Nowhere Boogie”

–Benny Sing