Caroline Strickland Delivers Haunting and Honest Moments on “Martha’s Calling” EP
I first discovered Caroline Strickland on a sweltering August evening last year, in the cramped, standing-room-only back of Pete’s Candy Store in Brooklyn, NY. She was opening for Cece June, another indie artist and friend of a friend. I hadn’t heard either woman perform before, but I’m always up for an intimate gig and the chance to discover new music, so I went in with an open mind and a lot of anticipation.
From the first few notes of her brief set, I was hooked. Strickland’s smoky, almost gothic-sounding alto instantly reminded me of one of my favorite indie alternative artists, Sharon Van Etten—and I'm certainly not the first to draw that comparison. I was even more sold on becoming a Strickland fan when I learned that she, too, was from Virginia and was navigating the challenging, sometimes uncomfortable process of establishing herself as a creative in New York—something she’s been working on for the past four years.
photo via Instagram
Completely won over by Strickland, I followed her to another show at Union Pool earlier this year, where she previewed a few singles from her now-released EP, Martha’s Calling. After carefully reflecting on the full tracklist, I’m excited to share my thoughts on her sophomore effort and hopefully encourage a few more people to jump on the Caroline Strickland hype train.
The EP kicks off with a pulsing drum pattern and reflective, nostalgic lyrics: “Looking down. At the remnants I left behind. In the bathroom of the bar where I made you my life.” “Loving You Right” is the kind of song you want to play with your windows down, cruising into the next chapter of your life, leaving behind a past relationship—not with bitterness or regret, but with a sense of peace and the knowing that you’ll get it right, one day.
The title track, “Martha’s Calling” is a sudden change of pace from the collection’s opener. Soft cymbal tapping joins delicate strums and contemplative piano to accompany lyrics that ultimately illustrate a last-ditch reckoning. The repeated phrase "Martha's calling," resonates as the persistent inner voice urging us toward change—be it pursuing creative endeavors, ending a relationship or exploring faith. Humans often resist change, clinging to comfort or fearing the unknown. "Martha's Calling" emphasizes that self-reflection is crucial; confronting stagnant aspects of our lives is essential for things to fall apart and come together anew.
"Single Action Army" is one of those love-at-first-listen songs for me. I first heard it at the second Strickland show I attended and I remember replaying the 30 seconds I recorded on my iPhone over and over for the next month. The song is filled with hard-hitting lyrics like, “It’s coming to my attention that the world ain’t my revolver. It’s got one pointed at me. A single action army,” capturing that all-too-familiar feeling of disillusionment we face in our 20s when we realize we can’t control everything around us. It really hit me. Beyond the emotional weight of the lyrics, the arrangement is catchy enough for a solid head bob. The plucky Jim Croce-esc guitar interlude at 1:52 that leads into a beautiful moment of voice isolation, with Caroline belting, really amplified the song’s theme of letting go in this coming-of-age anthem.
“The Prettiest Girl of Heaven” gives us a little breather from the grit of the previous track. It kicks off with a quirky drum beat, Strickland’s signature electric guitar strums and a playful reprise of the title phrase. In an interview with Under the Radar, she shared a funny story about the song’s unexpected origins. Apparently, after a meltdown following a retail shift, someone yelled the song’s title at her on the street. Strickland explained that the use of “heaven,” wasn’t meant to be religious, but more of a nod to her “tendency in times of crisis to awaken [her] former devotion,” (hello, relatable religious trauma!). Around two minutes in, Strickland’s voice deepens and becomes even richer, kind of reminding me of Florence Welch—if I’m bold enough to make that comparison. The track also gets a nice twist towards the end with a chorus of voices. Possibly another religious-but-not-religious nod to church service choirs? You decide.
This already impressive EP wraps up with “Chinatown”, which I’d call the sleeper hit of the collection, at least for me. After the discordant applause at the end of “The Prettiest Girl of Heaven” fades out, it blends seamlessly into the voice-only opening moments of this final track. The first few lines are delivered in a haunting way, with similes like “the sun was burning down like a candle.” As the tambourine and electric guitar join in, Strickland’s voice rises into a powerful crescendo and the lyrics grow even more impactful. “The end was creeping up on a bench in a park in Chinatown,” becomes a repeated phrase near the song’s climax, and it feels like a poignant summary of the EP’s overarching theme: recognizing change on the horizon and coming to terms with the inevitable shifting tides, even if it’s scary or unsettling.
Overall, Caroline Strickland’s Martha’s Calling EP offers a delightful blend of introspection, personal growth and a sense of catharsis. From the road-trip ready vibe of “Loving You Right” to the intrinsic insistence of “Martha’s Calling,” Strickland’s distinct voice and lyrical wit shine through. The EP takes you on a journey, shifting from the grittier tones of “Single Action Army” to the playful, almost mischievous feel of “The Prettiest Girl of Heaven,” where a street shout becomes an unexpected source of inspiration. And with “Chinatown,” Strickland ties it all together, leaving us contemplating change with a sense of reluctant acceptance. I would 10/10 recommend picking up Martha’s call—it’s a ring you won’t want to miss!
