Krystle Warren

Krystle Warren hails from Kansas City and learned to play the guitar by listening to Rubber Soul and Revolver. Her tastes range from Rufus Wainwright to Betty Carter, Willie Nelson to Nina Simone and she’s shared the stage with such diverse artists as Antony Hegarty, Kylie Minogue and Norah Jones.

Krystle Warren

EP “Love Songs: A Time To Keep” released 8/8/11

Debut CD “Circles” released 22/2/10

Krystle Warren on Tour

2011 dates

14th October – Enghein Culturel Centre, Enghein, Belgium

6th November  – Ronnie Scott’s (featured guest of Natalie Williams), London, England

11th November – Sydney Opera House, Sydney, Australia

12th November – Sydney Opera House, Sydney, Australia

14th November – Melbourne Recital Hall, Melbourne, Australia

15th November – Melbourne Recital Hall, Melbourne, Australia

25th November – Afro Jazz Beat with Eric Legnini, Brussels, Belgium

2012 dates so far

8th March – Opening for Eric Bibb, The Basement, Sydney, Australia

9th March – Opening for Eric Bibb, Q Theatre, Penrith, Australia

10th – 12th March – Port Fairy Folk Festival, Victoria, Australia

15th March – Northcote Social Club, Melbourne, Australia

16th March – Opening for Eric Bibb, Theatre Royal, Castlemaine, Australia

17th March – Music Festival, Moss Vale, Australia

18th March – Music Festival, Blue Mountains, Australia

20th March – Lizottes, Central Coast, Australia

21st March – Opening for Eric Bibb, The Basement, Sydney, Australia

22nd March – Opening for Eric Bibb, Lizottes, Newcastle, Australia

23rd March – Opening for Eric Bibb, Q Theatre, Penrith, Australia

24th March – Opening for Eric Bibb, Lizottes, Dee Why, Australia

27th March – The Vanguard, Sydney, Australia

28th March – Street Theatre, Canberra, Australia

Find Krystle’s 2 stunning performances on Later with Jools Holland here:

Performance 1
Performance 2

Krystle Warren LIVE @ ONE SHOT NOT

Sunday Comfort (live)

Year End Issue (Live in Bordeaux)

“… Warren’s talents are extraordinary. She has an octave-hopping voice that glides between languid and urgent, and music that hovers between funk, folk and jazz, between Jeff Buckley and Nina Simone ….. she’s the real deal.” The Observer

“There’s something alluringly familiar about Krystle Warren. She instantly sounds classic … we are certainly in the presence of a mighty talent.” BBC Online

“..Warren’s thrilling debut album fully lives up to expectations….it’s all uncontrived and near faultless really, .” Uncut

KW has an emotional intensity few can match, soul baring, chest beating and fragile – it’s all in there. The songs range from full on complex arrangements to just her and her instrument, either way this girl is in for the long haul. A star is born!

There is no Krystle Warren-shaped pigeon-hole, she being equally at home at the London Jazz Festival’s “Jazz Voice” evening at the Barbican alongside the likes of Kurt Elling and Natalie Merchant; supporting country singer Diana Jones at Union Chapel; touring with the high priests of vocal play Naturally 7; or appearing alongside Green Gartside, Lisa Hannigan, Teddy Thompson, Robyn Hitchcock, Scott Matthews and Vashti Bunyan on the Way To Blue – The Songs of Nick Drake tour:

“Krystle Warren’s voice reworks Time Has Told Me as grippingly raw, gospel-influenced Southern soul, a transformation so complete it even seems to surprise her fellow performers.” The Guardian

“Time Has Told Me sung by Krystle Warren was a revelation….she imbued it with a totally new vision and her soulful and deeper tones were simply perfect.”

“…Warren’s treatment of Time Has Told Me as a straightforward soul ballad exposed the twists of Drake’s songwriting and his compositional similarities to Nina Simone brilliantly, completely stunning the crowd.”


Hi there. This is Krystle speaking.

Musician, singer-songwriter, budding activist. The latter we’ll get into some other time. For now, lets stick to the music end.

I was born in Kansas City Missouri. I have a mother who primarily raised me, an older sister and many, many aunts. I was introduced to music at an early age and fell in love with it instantly. I recall spending a great deal of time in the attic spinning my mother’s vinyl on my Playskool record player, (many thanks to Aunt Mamie for that!), such albums as Bill Withers, “Menagerie”; Bobby Womack, “The Poet”; Stevie Wonder, “Hotter Than July”; The Emotions, “Flowers”… At family holidays, my aunt, Mamie, would have the family over and I’d always disappear soon after the meal to her basement, where I would find Marvin Gaye, The Temptations, Johnny Mathis…I could go on about my early musical “training” all day. Suffice to say, I had amazing teachers. The first time I recall being moved by a piece of music, was when I first heard Aretha Franklin’s, “Ain’t No Way”…

About five years ago (give or take), I made an album called, “Circles” with my band, The Faculty. Two years ago, it was unleashed! Russell Elevado produced it, I co-produced it and Ben Kane engineered it. We set up shop at Electric Lady Studios in the early days of summer and didn’t leave ’til the leaves started to fall.  A year or two later, (it’s all relative), I ended up in L.A., looking over Jim Scott’s shoulders while he and Kevin Dean did the final mixing. In the end, “Circles” was the end of a circle; a closing of a chapter, an opening of doors and and a hopeful begining.

I made a new friend while on holiday in New York last summer, August 2010. She and her husband came to solo performance of mine in a most interesting dive. She spoke with my manager who had attended the show as well, and said, “What can I do to help Krystle?” I was a bit reluctant to investigate the weight of her question, but as time began to fly, I figured, ‘Well…see if there’s a chance. Yay or nay, life goes on.’ So, I sent a note her way, and she responded quite soon after, enthusiastically! ‘Great!’ I said to myself, so happy that I hadn’t offended. We set a phone date and I told her just as I told you, about “Love Songs”, and how I envisioned it. “Who’d produce?” she asked. “Me.”

I had been tossing around where I wanted to take the album stylistically for a good while. I’d recently revisited “Dusty in Memphis” and was really keen on “In the Land Of Make Believe”. “Still Bill” was also in heavy rotation, especially, “I Don’t Know”. Paul Simon’s album, “Still Crazy After All These Years”, Colin Blunstone, “One Year”… A tune of mine called, “Climbing Out” started morphing in my head into “Baby, I Love You”, based on the hit from Donny Hathaway and Roberta Flack. Likewise, a ten year old ditty of mine, “Forever Is A Long Time”, originally a straight forward folk number, started playing as a long lost Phil Spector production.  With those tunes in mind, I started looking though my back catalog, so to speak, to find out what else I could tweak. While I still lived in San Francisco, (after New York, before Paris), I got together with Kane who was land locked in the world of D’Angelo. He had a three day weekend open and kindly invited me to record. We ended up knocking out a tune I wrote back in New York called, “Lonely”, then, “Generations” and a (then) brand new hot off the press tune, “Farewell”. Before we settled on those titles, Kane encouraged me to make a list of every tune I’d written and decide on what we wanted to do from there. I tore open a cigarette carton and scrawled all the song titles. I realized there and then that I had a hundred and fifty songs. Out of that hundred and fifty – excluding the fifteen or so we recorded during the sessions for “Circles” – I picked twenty-four for “Love Songs”.

So, the very kind and gracious investor gave me a budget and I set out almost immediately calling up the guns that would grace the album. Would you believe it? Everyone was in! Brad Cox, an amazing composer who I’ve known for the last ten years, who I first met in our hometown of KANSAS CITY, MISSOURI, said he’d be happy to arrange some tunes for me, (what’ll you hear ’em! Omyfriggin’gawd!). The Faculty fellas were excited to get back into the studio. All my horn playing buddies said, “Hell yeah!” – not literally, but to that effect. The backing vocalist consisted of some of my vocal heros. Pals of pals made up for the string quartet…so who’d be our engineer extraordinaire? Brian Bender, a lovely guy who I met whilst in the thick of my Electric Lady days. The record sounded classic and we hadn’t even pressed the big red button.

In thirteen days we recorded twenty-five tunes, all of which I am very proud.

I’ve been in the music business for awhile now. I see how it’s changing and I believe that it’s time for artists to seek control over their creative voice…so I did, and have. My very own label, aptly titled, Parlour Door Music, is up and running. It’s first release, “Love Songs”.

Viva la revolucion! (With love)


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