2015 L’Association de Musique Cadienne – Cajun French Music Association

“Female Vocalist of the Year”


2014 Grammy Nominee – Regional Roots Music


2014 Freeform Americana Roots Chart – #1 – Me & T-Coe’s Country


2013 Far and Away the Best of 2013 – No Man’s Land


2013 Offbeat Magazines Best of 2013 – No Man’s Land


2010 FAR and Away the Best of 2010

#1 Debut Album of the Year – Should Have Known
#2 Album of the Year  – Should Have Known
#2 Female Artist of the Year – Yvette Landry


2011 “Best of the Beat Awards”

Best Country / Folk Album – Should Have Known

Best Country / Folk Artist – Yvette Landry


 2011 Roots Music Report

Top 100 True Country Albums – #28 – Should Have Known



Yvette Landry – “Me & T-Coe’s Country”
Offbeat Magazine

Steel-guitar shaman Richard Comeaux has been part of Yvette Landry’s country aggregation for a few years, but when Landry needed a duo partner for the smaller gigs a year-and-a-half ago, playing with T-Coe (as he’s alternatively known) just clicked.

Obviously it clicks here, too, on this predominantly one-of-a-kind vintage country affair. Many of the classics, “Tennessee Waltz,” “Cold, Cold Heart” and “I Fall to Pieces,” are slowed down considerably to allow for the talents of both to be front and center, unencumbered by an otherwise full-size band.

It’s an amazingly deep album full of layered listens and focuses. On one level, steel-guitar fans will likely drool over Comeaux’s infinitively limitless technique of picks, slides, glides, rolls, growls, howls and sacred harmonics that’s almost as if he were a one-man steel-guitar convention. Listening to Comeaux’s extended solos―a rarity since most steelers are relegated to briefer rides for the ego of the vocalist―becomes a mood-altering, if not spiritual, experience.

On another level, Landry’s slightly syncopated vocal interpretations are often stunning, sometimes playful, as on “Can I Go Home with You,” and sometimes astounding, such as on the end of “A Church, a Courtroom and then Goodbye” —where she belts out, “And [pause] then [pause] goodbyeeeeeee” to the heavens.

Though this wasn’t intended to showcase any Yvette Landry material, “Memories of Clelia”—with its full-blown imagery of loaded pistols, dusty bibles and departed souls—is quite the tearjerkin’ tearjerker.

When you listen to this one, remember to keep the Kleenex close by and the box of razors out of sight.

~ Dan Willging, Offbeat Magazine

 Yvette Landry ‘Me & T-Coe’s Country’ – Soko
Lonesome Highway

For her latest album Yvette Landry has distilled her music down to the purest elements of traditional country; voice, guitar and pedal steel. Added to that is the fact that the acclaimed songwriter has chosen to mostly cover some of her favourite songs. It is a testament to her seeking for truth of the music that she manages to make these often iconic songs feel very much her own. You can’t dismiss the version that have already become ingrained in your memory banks, rather the simplicity of the setting give them a new perspective.

Landry’s unique voice is full of passion, pain and perception. It soars above the simplicity of the arrangements. Kudos too to Richard Comeaux’s steel playing which is a major part of the musical impact, along with Landry’s voice. Comeaux has been a part of Landry’s musical band for some time and clearly understand her vision. The duo setting allows him full reign to display his many skills over the entire album rather than coming to the fore with a brief solo or atmospheric playing that a full band setting often dictates.

The songs include Tennessee Waltz, I Fall to Pieces, Together Again and Misery Loves Company. The latter a dissertation of the memory of love lost that comes from the pen of Jerry Reed and clocks in at over six minuets. Voice and steel guitar jointly explore the anguish in way that underlines the real nature of raw regret. There are three songs associated with Hank Williams Senior (Cold, Cold Heart, Hey Good Looking andBucket’s Got A Hole in It), another artist who understood how to turn human nature into a heart-wrenching vocal. There are songs from Foghorn Stringband’s Caleb Klauder (Can I Go Home with you?) as well as two from Landry (Together, Forever and Memories Of Clelia) along with the classic covers. These both sound and feel at home with the other songs.

The way they perform the songs soon makes you forget that there are only two players featured on the album. On the bonus closing track (I’m leaving it Up to You) Landry is joined by a full band on a more bluesy take and the male vocal is front and centre providing alternate verses with Landry. The nature of the album gets inside these songs and deconstructs them back to the foundations of the emotions that the songs were built upon. No mean feat when you’re up against the originals recording – and countless other versions in some cases. There have been quite a number of albums in recent times where singers have gone back to the songs that first drew them to real country music. The success of these has been varied, but this album deserves to be heard. It is not a stopgap, but rather an affirmation of why this person is as good as she is. And she is.

Yvette Landry – Me & T-Coe’s Country

After only a few days in the hands of radio stations, Yvette Landry’s most recent album, Me & T-Coe’s Country, has debuted at #4 on Freeform Americana Roots (FAR) Chart!  Reviews are coming in left and right.  Here’s what Devon Leger of Kithfolk Magazine had to say…

“Cajun singer Yvette Landry carries a torch HARD for true honky-tonk. Her new album, Me & T-Coe’s Country, is all pedal steel, loping guitar lines, and slightly smokey, sweetly beautiful and seriously twangy vocal lines. Cajuns have long held a great love of honky-tonk, and in some ways a lot of Cajun songs, once you translate them to English, sound just like a teary country song. So there’s a natural connection here that Landry doesn’t have to dig deep to find. What’s interesting, is that this album is really a slow-burner. Most of the songs are taken from various old-school country sources (Hank Williams, Jerry Reed, Buck Owens, Pee-Wee King, Hank Cochran), but they’re slowed down to a nice, relaxed pace. It’s quite lovely, and quite difficult to pull off, actually. But Landry’s got the kind of presence that draws you in. This is a collection of classic honky-tonk that plays more like a steamy Southern novel than a packed dancehall. Special kudos to Landry for picking up our buddy Caleb Klauder’s excellent “Can I Go Home With You” and for writing some classics herself here. Lovely album!”

-Devon Leger

Check out the full magazine on line at


Yvette Landry, Me & T-Coe’s Country.

More Louisiana mischief as singer-guitarist Yvette Landry takes a couple handfuls of country staples, adds two originals and creates a surprising jaw-dropper with only the accompaniment of pedal steel player Richard Comeaux. It’s the utter sparseness of the sound that supplies the magic, along with songs like “Tennessee Waltz,” “I Fall to Pieces,” “Hey Good Looking” and “Buckets Got a Hole in It.” Landry’s voice is allowed to take flight with nothing to tie it down to Earth, and she is sharp enough to take advantage of that freedom.

Comeaux is the perfect partner, never going over the top with pedal envy, but rather listening to what the singer needs. Yvette Landry is a revelation here, someone who can call for two hankies and then right away shout out for a shiny dance floor. A bonus lagniappe track of Don and Dewey’s “I’m Leaving It Up to You” featuring Roddie Romero and the Hub City All-Stars feels like a heaven-sent belt-polisher, straight outta Beaux Bridge. Time to fry the fish and boil the crabs.

~Bill Bentley

Bill Bentley’s Bandstand – The Morton Report


Expectations can lead to disappointments, but they can also lead to great joys if you are willing to let go of preconceived notions and examine what’s at hand with an open mind.  Yvette Landry’s first two discs, at first listen, brought your attention to a sultry voice, a fresh presentation of songs, and writing that had us thinking she was a modern day Patsy Cline.  Yvette’s newest project brings fourteen songs to the table, twelve of which are standards, (i.e. “Together Again”). At first listen, your attention is drawn to the fact that many of the songs are covers.  But as the songs progress, the idea of “they’re just covers,” gets tossed away.  You realize that the voice is still present and the performances disassemble the songs in a way that makes them sound completely new again.  Remarkably, this is done with just two people – Yvette (voice and acoustic guitar), and pedal steel guitarist Richard Comeaux (the “T-Coe” in the title).

This record was recorded with no overdubs and for all intents and purposes, all one-take efforts.  Yvette’s voice is right up front;  hers is a voice that could rival any other.  Richard’s pedal steel is dead-on, keeping with an era gone by, yet breathing life into these songs making them new and powerful.  The two produced the album, which was engineered, mixed, and mastered by the incomparable Tony Daigle, who seems to be right in sync with their vision.

The two original tunes, both of which were written by Yvette, fit perfectly with these classics.  The beauty of it all is that the songs are not just recycled, but are given new life by the raucous emotion that is put into them. If this disc gets the press it deserves, it will set a new standard for these old songs.  Anyone who attempts to record them will have a lot to live up to.

– Bob Gottlieb




Le précédent album d’Yvette Landry avait bénéficié d’un Cri du Cœur, aussi notre rédacteur en chef n’a pas hésité à me confier la nouvelle œuvre de cette chanteuse et musicienne louisianaise, au grand dam sans doute de notre ami Bernard ! Le menu 2013 offert par la “Catin” préférée de notre revue est-il aussi copieux et diversifié que l’était Should Have Known avec ses honky tonks, valses et même rock & roll ? Réponse oui, quasiment. Avec treize titres au lieu de seize mais on y retrouve toujours un peu de R’n’R (Dog House blues), de la valse (Butterfly Kisses), des slows et parfois même avec de l’harmonica (Little Gold Band), des honky tonks (Three Chords And A Bottle, What Did In The Hell They Did Back Then), de la country dans le style de Loretta Lynn (Forever Cowboy) et une berceuse acoustique qui m’a fait me souvenir de Rattlesnake Annie (When I Die). Pour faire plaisir à Bernard il y a même un swamp blues (ou pop) avec orgue et accordéon (Yeah, You Right). La pedal steel guitare est très présente. On a aussi du dobro, du fiddle, du banjo et une bonne guitare (présence de Bill Kirchen). Alors Yvette mérite-t-elle un nouveau Cri du Cœur ? Eh bien oui car je n’ai pas encore trouvé, dans notre série de rentrée, un album qui lui disputerait la distinction.


Honky-tonk Angel
Yvette Landry steps into the spotlight

Published Sep 30, 2013 at 6:00 am (Updated Sep 23, 2013) By Roger Hahn

Yvette Landry was driving home one day from her job teaching at the University of Louisiana at Lafayette when her cell phone rang. “Hello?” asked the deep, male voice on the other end of the line. “Is this Yvette Landry? This is Hank Williams Jr. calling.” Landry shot back, as quick as if she’d suddenly hit the brakes, “C’mon. Who is this really?” It turned out to be the real Hank Williams Jr., calling about Landry’s first CD, Should Have Known—impressed and intrigued by the work of a local artist on a first-time CD handed to him by a Louisiana buddy.

That call likely won’t be the last time singer-songwriter and multi-instrumentalist Landry gets a ring from Nashville. Already impressive the first time out, her songwriting, vocal and production skills have taken a giant leap forward on her recent CD, No Man’s Land, with its impeccable, hand-crafted honky-tonk music. She’s also just published a children’s book, The Ghost Tree, and is collaborating on a new album from Bonsoir Catin, the Cajun female all-star quartet in which Landry plays bass and sings.

“If you would have told me 10 years ago my life was going to be like this,” the Breaux Bridge native says, “I would have looked at you like you were crazy.” And in Landry’s case, the astonishment is completely genuine. Ten years ago, Landry was a full-time teacher, mother and wife who competed in semi-pro volleyball just to help keep herself fully occupied. But when her father was diagnosed with brain cancer in his late 50s, Landry gave up volleyball to help nurse him. Around that time, she bought an electric bass for both distraction and consolation.

Before Landry knew it, she was going to local jams and got an offer to play bass with The Lafayette Rhythm Devils for their Wednesday performances at Randol’s Restaurant and Dance Hall, a gig she still holds down. Not long after, Landry went through a divorce—and the songs just started pouring out. “The channel was open,” she says. Singing lessons followed, and her father’s death at 67 motivated her to collect and record all the songs she’d written since the onset of his illness. Those songs became Should Have Known—crackerjack country music displaying a mature and accomplished range of talent.

But the most surprising part of Landry’s story might lie in her storytelling skills. In her songs, the upbeat, unceasingly cheerful former Crawfish Queen (seriously) inhabits the persona of a slightly defeated and jaded independent cowgirl sitting on a barstool, watching the human comedy unfold as she drinks in her fair share of hard whiskey and the classic country music of Hank Williams, Johnny Cash, Patsy Cline and Loretta Lynn. Combine that with spontaneous candor from a female perspective, and you get lyrics like, “Don’t trust that man until he’s dead and gone,” or, “Well, you’ve got pretty blue eyes, and you’ll do, I guess / I’m always lookin’ for my next Mr. Ex.”

Every tune in Landry’s catalog is pure old-time honky-tonk with a female twist, each one more insightful, touching and clever than the next. She also has a natural instinct to work with the best of Cajun music’s young virtuosos and a growing confidence that’s near awe-inspiring.

I saw her on a side stage last year at Jazz Fest, supporting her first album, and she was entirely credible; booked this year on the Fais Do Do stage with a new CD to promote, she came this close, in just one year, to turning her first big-stage set into a genuine star turn. So check her out, and if you experience just a bit of astonishment yourself, welcome to a rising star’s rapidly growing fan base.

Festivals Acadiens

Yvette Landry will be featured at this month’s Festivals Acadiens in Lafayette at the Louisiana Folk Roots Atelier. The festival encompasses two stages, a dance hall and several performance tents in Girard Park. It also features plenty of food, a craft fair and more than 50 performances by the likes of Geno Delafose, Balfa Toujours, Pine Leaf Boys, Roddie Romero, Wayne Toups, Steve Riley, the Savoy Family Band and many more. Oct. 11-13.


 Yvette Landry – New Orleans Jazz and Heritage Festival

Honky tonk music has a pretty limited vocabulary, and Lafayette’s Yvette Landry works in it without being constrained. Yes, her songs are largely about bars, bottles and heartbreak, but the bar’s the Blue Moon and the guy is bad in bed. Her honky tonk has a foot in the city and one in the country, and neither her songs, her voice nor her band show a hint of strain in the straddle.

~ Alex Rawles – My Spilt Milk


 Offbeat Magazine – No Man’s Land

No sophomore slump here, Yvette Landry delivers a beaut that honky tonks its way through an assortment of colorful tales told mostly from a woman’s perspective. Whether it’s turning the tables, perpetuating romantic failure or finding lasting love, she covers a wide range of topics as captured by an observant eye. Some such as “What I’m Thinking” and “I’d Love to Lay You Down” are funny and you’d hate to be the rascal that the female protagonist is hunting down. On the shuffling “Three Chords and a Bottle,” this gal’s about her music and is not about to play the game.

Though she pretty much shot from zero to sixty on her debut, it’s also evident she continues to evolve as a writer. She’s becoming a master of such inventive phrases as ‘Butterfly kisses, crackerjack mornings,’ the latter a reference to the unexpected prize or dud that the day may bring. There’s twists and turns as well—later in the same song (“Butterfly Kisses”), it’s clear that the protagonist never recovered from love lost and drinks her life way. Tempo shifts are used effectively to shift emotion (“Forever Cowboy”).

While she excels at honky tonk—especially with ace steeler Comeaux’s perfect fill-in—she isn’t afraid to have other arrangements lean towards bluegrass, Americana and classic rock. “Yeah, You Right!” is almost experimental with its blend of country and zydeco featuring Geno Delafose (accordion/drums), Lil Buck Sinegal (guitar) and Erick Adcock (organ). While the band’s hot and guests like Cindy Cashdollar and Bill Kirchen never hurt, would this still work without her expressive set of pipes? Probably not, and her gripping performance on “When I Die” should be enough to win over any remaining skeptics.

~Dan Willging


The Morton Report – No Man’s Land (Soko Music)

Yvette Landry, No Man’s Land.  Straight outta Beaux Bridge, Louisiana comes Yvette Landry, a singer who knows her way around all the things that can make life a mysterious dance full of inspiration and intrigue. The way she handles the quiet and not-so-quiet warfare between man and woman sure makes it seem like she’s been there, but who knows? Maybe it’s just her fertile imagination and plenty of on-the-job observations. Landry’s song titles alone say so much: “Dog House Blues,” “Three Chords and a Bottle,” “My Next Mr. Ex” and “This House Is Not a Home.” Even the lone cover, “Lord, I Get High,” is a seamless fit into her world. It’s the kind of album that should be handed out at couples therapy and divorce court alike, and maybe even high school homemaking classes to let the youngsters in on what lies ahead.

The last song, “When I Die,” is a sobering assessment of the hope that awaits everyone in the next life, and how it might be a blessing after all. When Yvette Landry sings of “the fighting being over,” the chills run all the way to the bone while the weeping steel guitar drives the final nails in the coffin. There is a Southern fatalism that runs through the land below the Mason Dixon line. Producer Jim Dickinson used to say it was because the South “lost the war.” Could be, or maybe it’s just the way a sweet release from the struggles of living there is such a long time coming. Either way, Yvette Landry has a direct line on those struggles and that release. She stands up to the former and keeps pushing for the latter, showing what a Louisiana woman can be counted on to do. Yeah, you right.

–Bill Bentley, Bentley’s Bandstand


3rd Coast Music • No Man’s Land – (Soko Music) ( 4.5 flowers)

So, our Cajun Goddess, who wowed NotSXSW a couple of years ago, with FAR reporter Obie Obermark (Texas Renegade Radio, KNON, Dallas) remarking “Yvette Landry is the most charismatic performer I’ve seen not named Willie Nelson,” but couldn’t make it for 2012, was supposed to be back with us this year. However she ran afoul of possibly the only bride in the entire US of A who only needed six weeks to plan a wedding that would tie up two members of her band for March 16th. However, at least I can console myself with her second album. Landry’s stunning debut, Should Have Known (Soko, 2010), had a certain shock value as she was known as a sidewoman, playing bass with Bonsoir Catin, Lafayette Rhythm Devils, Balfa Toujours and many other Cajun groups, rather than a country singer-songwriter, and anyway, who expects a killer honky tonk album to come out of Breaux Bridge, LA? No Man’s Land, of course, can’t be another came-outta-nowhere bombshell, but it’ll still blow your doors off again, no second album slump here on 13 tracks that feature steel guitarist Richard Comeaux and Dirk Powell piano, with appearances by Cindy Cashdollar, Bill Kirchen, Joel Savoy, Lil Buck Sinegal, Betse Ellis, Geno Delafose and Tony Daigle among others. Ms Landry is, well I was going to tactfully say une femme d’un certain age, but as she’s fronted up the details for my B&D column, I assume she doesn’t mind you knowing she’ll turn 50 later this year. Maturity may be a career-killing liability in Nashville, but it’s a valued asset, almost a requirement, here at 3CM Towers, and if she came to songwriting later than most, the payoff is that she’s writing songs for and about grown ups, the way country used to be. On top of that, there’s her seductive delivery, as Bill Bentley put it, “Yvette Landry has the kind of voice that can get grown men into trouble.” JC

John Conquest
3rd Coast Music


Folk & Acoustic Music Exchange (FAME) –  No Man’s Land

This is the second disc from this rich-voiced young country singer who has a much older sensibility to her. She gives us a dozen of her songs; the thirteenth song, Lord I get High, was written by Matt Kline. The songs reflect an active intelligence that doesn’t accept things at face value. Sometimes they are ironic and funny, at other time sad, yet always present a sharp comment on life as she experiences/observes it in Breaux Bridge, LA, or on the road with one of the bands she plays in. Just the titles give you a hint;Butterfly KissesThree Chords and A BottleMy Next Mr. Ex, and I’d Love to Lay You Down, are a few of the titles and present you with ideas on her songs. It is her wit and sharp insight that make them into the gems that they are. The songs and the way they are presented take the listener back to the days of country singers such as Patsy Cline, Tammy Wynette, and Loretta Lynn. Yet it is a new age and today’s thinking woman isn’t going to “Stand By Her Man” no matter what, they demand respect and deserve it for what they have accomplished.

This country singer, Yvette Landry, here spends many of her nights playing with several Cajun bands, Bonsoir Catin, The Lafayette Rhythm Devils, and Balfa Toujours, to name three. The people that perform on No Man’s Land reflect the respect that she earned: Cindy Cashdollar, Bill Kirchen, Dirk Powell, Tony Daigle, and her son Trevor Landry. (When you were a college student, would you want to be seen with your mother’s band?) This disc contains a good variety of buckle polishers as well as some that rock. If the music doesn’t get you up and dancing, the songs will bring some smiles to your face as well as thoughts to your grey matter. A solid disc in every way and one that is sure to stick in your player as it is that good on so many levels.

Bob Gotlieb – Folk & Acoustic Music Exchange



Although she’s from Cajun country and often performs with Bonsoir Catin, The Lafayette Rhythm Devils, and Balfa Toujours, on this outing Yvette Landry is more Kitty Wells than Christine Balfa. With the exception of the funky Zydceo offering “Yeah, You Right!,”  a wild fling with Geno Delafose on accordion and drums, Lil’ Buck Senegal on guitar and Eric Adcock on Hammond C-3,  almost everything else on No Man’s Land is  ’50s-style country. But as presented by Landry, there’s nothing wrong with that.

“Dog House Blues” is an interesting conglomeration of western swing fiddle from ’12’s Louisiana State Fiddle Champ Beau Thomas ‘ and ’50s country era pedal steel courtesy of Richard Comeaux (Lil’ Band O’ Gold, River Road,) overlaid by Landry’s twang, sounding more Texas than Louisiana.

Landry’s half spoken word “Butterfly Kisses” sounds like Kitty Wells backed by Comeaux’s weepy pedal steel and Thomas’ low country fiddle.

“I walked into a barroom just to ease the pain,” Landry croons on her original “Three Chords and A Bottle,” that sounds like a vintage honky-tonk drinking song. “You can always count on Patsy/ to help you see the light,” she moans. “3 chords and a bottle is all I need tonight.”

Steel guitarist/dobroist extraordinaire Cindy Cashdollar steps up on  “What I’m Thinking” to punctuate Landry’s lament that her soon to be ex beloved is leavin’ but when she catches up to him that sumbitch gonna wish he wuz dead.

Landry dishes out more death wishes along  with a Cajun fiddle infusion from Betse Ellis on “I’d Love To Lay You Down.” This ain’t no love song, but a fervent prayer that she can lay down her sleeping around spouse who’s been a-layin’ all the women in town. “About 6 feet under the ground sounds good to me,” she says of her desire to place him in a house with no windows, a marble roof and an inscription out front for all the world to see that his cheatin’ days are done.

Despite all the cheatin’ and drinkin’ and threats of mayhem, No Man’s Land sounds like it was as much fun to make as it is to listen to. You can party with it, drown your sorrows to it, and get up and dance if you can still stand up after all the boozin’ and foolin’ around. Its well worth the trip if you can just survive the journey.

By Grant Britt, No Depression


“This is what country music used to sound like before it became homogenized in Nashville in the 1960s: intensely regional and full of fiddles, banjos and mandolins. The locale here is Breaux Bridge, Louisiana, hometown to honky tonk singer- songwriter and invitingly twangy vocalist Yvette Landry, and this 16-track debut CD is superb. Her effort here follows nearly a decade of touring the world as an accompanist for the likes of Balfa Toujours, Bill Kirchen, Carol McComb and the Lafayette Rhythm Devils as well as being the bass- playing founding member of the all-woman, authentic Cajun band Bonsoir, Catin. She is joined here by project co-producer and renowned Cajun fiddler and guitarist Joel Savoy along with various members of The Redstick Ramblers, River Road and the Wilders among others, with particularly extensive contributions from fiddler Betse Ellis, electric guitarist Chas Justus and steel guitarist Richard Comeaux.

Landry’s ace in the hole is her strikingly original songs and the feisty fashion in which she puts them across. From the opening, rock and rolling title track (with Ellis fretting and bowing for all she’s worth) through such aural delights as the disarmingly tear-stained ballad “Better Days” (that would have been a natural for Loretta Lynn), to a brilliantly arranged, timeless lament for times gone bye called “Where Memories

Are Gold.” There’s the last-call, closing- time weeper titled “Can’t See Me Without You,” the boogie piano-tinged “Dead And Gone”(with Landry channeling Wanda Jackson) and the closing, lovelorn slice of bayou blues “Fishing’s Better Anyway.” Landry constantly thrills with her nostalgically haunting vocals and fresh-sounding acoustic guitar work. An unvarnished blend of traditional country and honky tonk music at its best.”

GvonT – Singout magazine


Yvette Landry, My Morning Jacket, and WHYR’s Radiopalooza

What happened last week: I decided to forego the super-sized spectacle of Bayou Country Superfest and instead, bike my way down to the free fan fest in the parking lot to catch Yvette Landry’s brilliant honky-tonk set. Pedal steel maestro Richard Comeaux gave the set its most graceful moments, but there was a second when Landry let out a country holler that echoed off the cliff faces of Tiger Stadium. It was a brief, goose bump moment, one that even surprised her. It made me wonder if anything that was to go on during the big money show later would come close.

Alex V. Cook”Yvette Landry is the most charismatic performer I’ve seen not named Willie Nelson.”

Obie Obermark, Dallas Tx


3rd Coast Music (#171)

April 2011

“Once in great while you are fortunate enough to hear a fantastic talent just as it has stepped up on to the launching pad. Do yourself a favor and buy this disc, particularly if you loved the strong, no nonsense country women of a bygone era — Patsy Cline, Loretta Lynn, and Kitty Wells. Put on your boots and saddle up as here comes Yvette Landry. This is a woman who has been playing music just a few short years, she started as a bass player in her hometown of Breaux Bridge, LA in Cajun bands (she still plays in three Cajun bands), and she has played with the likes of Dirk Powell, Balfa Toujours, and Bill Kirchen among others. Here we have her debut solo CD comprised of 16 honest from the heart songs that she wrote. These songs will have any bunch of Honky Tonk dancers, worthy of the name, up and on the dance floor. These are not the sweet songs that gloss over things, but the gritty songs that tell the whole story with no fuzzy crappy glossing over about them; listen to Another Lesson Learned. It is the real story and if there is anyone out there who hasn’t felt this way I’ll call him or her a liar. This isn’t a woman who bathes in pity, but climbs back into the saddle after landing on her forked end, to ride into the challenges of the path she has chosen to take. She is fully armed with the knowledge that there are buck offs, and heartbreak to show her just how good life can be when it fits together.

She has learned lessons from what life has placed in her path, but there isn’t yielding but rather the courage to climb back up and give it a better try the next time. The gritty real flavor that drives her songs home separates her from so many other aspiring singer/songwriters. There is an honesty that only comes from facing all that life has to offer, knowing when to stand there and take it, and when to turn and walk to the side so you can walk to the front another day. Her voice shows that inner combination of both toughness and tenderness. She is ably assisted here with some very strong musical partners; there is Betse Ellis on fiddle, Glenn Fields handles the drums, Chas Justus handles most electric guitar and Richard Comeaux handles the steel guitar that alternately weeps and wails with stunning effect. There are many others throwing their support to Ms Landry as she handles all of the lead vocals as well as acoustic guitar. If all is right in this world, this woman is a huge star, she has the songs that tell a real story, the spirit that is in the right place, and courage to succeed and it is just a matter of timing now. Go and get this disc, I can guarantee that if you like heart generated, honest, no bullshit music, that pulls no punches, you will be so happy, sensory dynamite.”

—  Bob Gotlieb, Folk and Acoustic Music Exchange


“If you like your country music with more old school tumbleweed and Texas twang than fast-burning plastic of the modern age, then you should pick up Yvette Landry’s new solo CD Should Have Known. Like some Cajun queen bee from another era, the Bonsoir, Catin bassist picks up her acoustic guitar to belt out 16 original tunes that trace the arc of romance from holding hands to one night stands to making long term plans. Filled with bitter-sweet tales of love lost, found, and turned around, it’ll have you jerking the tears out of your eyeballs and crying in your beer. Co-produced by Joel Savoy and Landry, the CD plays like a woman’s honky tonk companion piece/travel guide through the back roads of the heart with upswings through the highs (“Blue Moon Girl”) and pensive meditations on the lows (“Where Memories are Gold”).”

— Dege Legg, The Independent


“Should Have Known” is a remarkable collection of haunting barroom ballads and danceable country rhythms. Yvette Landry wrote, co-produced and sings the paint off of these 16 memorable songs, and does so with sass and authority. Showcasing her many talents and especially her riveting vocal presence, this CD should be the start of something big. Count me as her biggest fan!

— John Lilly, Charleston, WV


“Yvette Landry’s debut is imbued with the spirit of SW Louisiana.  Strikingly honest country vocals, instantly familiar lyrics and a sweet meandering backdrop of steel guitar set the scene for a honky-tonk slow dance.”

— Gary Paczosa, Sugarhill Records


“I met Yvette as bass player  then I found out she had songs of her own I heard them and right away knew of her honesty in song then she sent this recording – the truth telling is there, her standing up and above the band is there and i am proud for her – yvette just rears back & tells the truth, y’all.”

— Darrell Scott, Nashville, TN


“Landry certainly qualifies as “hard” country, there’s nothing soft or fuzzy about her songwriting…Landry’s songs, often set in barrooms, mine much the same “Wrong’s What I Do Best” vein as Miss Leslie and if she has the occasional iffy rhyme, it’s easily offset by a flair for gritty, authentic detail.”

— John Conquest, 3rd Coast Music, Austin, TX


“If you’re looking for real country music, look away from Nashville to Breaux Bridge, La., the heart of Cajun and zydeco territory. Best known in roots-music circles for playing bass with bands including Bonsoir Catin and the Lafayette Rhythm Devils, Yvette Landry comes from a long line of musicians. For her debut album as a leader, she picks up her acoustic guitar and her songwriter’s pencil and turns not to traditional Acadian music but to traditional country and honky-tonk, with a hint of Southwestern Louisiana spice.  Backed by an all-star supporting cast including Red Stick Ramblers, Wilders and co-producer Joel Savoy, Landry delivers the unvarnished goods: uptempo selections such as the celebratory Blue Moon Girl and the revengepowered Jack as well as heartstring-tugging ballads including Where Memories are Gold and Fishing’s Better Anyway.  Country music should know it needs Yvette Landry.”

— Jim Beal Jr., San Antonio Express-News


“When Yvette Landry makes music, the smile on her face is as wide as her Cajun roots are deep.  When she performs her own swamp/country tunes about life and love (lost and found), you won’t be able to resist the urge to dance. Oozing charisma and Louisiana proud, this musician and her music are salt of the earth.”

— Mary Flower


“Country music fans everywhere should snap up ‘Should Have Known’.  Yvette Landry’s new album is the whole package – great songs, intimate and direct songwriting, killer musicians and excellent production.  Yvette shows that that honky-tonk lives on in her native Louisiana – heartache, hard-living, and strong, gutsy women all show up in this album.  Her songs have something that music lovers crave – they sound new and old at the same time, like long-lost gems from country’s 1950’s heyday.  What a thrill to find someone is still writing and recording music like this! ”

— Amanda Lynn Stubley, For The Folk, CHRW 94.9 FM


“Ms Landry has made herself (and us!) one fine disc here. The writing and singing show a depth and confidence that belies the fact that this is her first effort. 16 songs, all written by her, run the gamut from heart-on-the-sleeve ballads to kick-ass romps. This collection is rooted in country music, and, like the best of the genre, it draws to great effect on the neighboring styles of cajun, blues and rock ‘n’ roll. By country, I mean the stuff that tells a story that sounds like it actually happened – songs where you can still hear a heart breaking. Luckily for us, lest we get drawn down Lament Lane and Poignant Place past the point of no return (don’t get me wrong, there’s no place I’d rather spend an evening) there’s plenty of rambunctious action here. Yvette has cranked up a bunch of fine up-tempo songs as well, and the rock ‘n’ roll rolls just as well as it rocks. Produced in Louisiana by Joel Savoy and Yvette, there is no shortage of great steel and fiddle playing in the mix. All in all a mighty fine record.”

— Bill Kirchen


“Some of my favorite recordings this year are almost straight-ahead country. Caleb Klauder’s Western Country and Yvette Landry’s unbelievable debut Should Have Known make a wonderful testament as to what’s wrong with mainstream Country today. If I had a Country station I’d be playing the crap out of both of these discs, and for that matter my favorite album of 2009 – Zoe Muth’s self titled debut. Carrie Underwood and Kenny Chesney seem like perfectly nice people but are they making “Country” music? Why is it that Country music programmers find it so important to water down their output? I guess I can probably answer that… For some reason the general public seems to have a knee-jerk reaction to Country & Western. It’s too bad because if they’d let the music seep in I think they’d be pleasantly surprised.  Next time I run across a Country-music-hater I’m going to make them come to my house drink beer all day and listen to Yvette Landry, over and over and over. I promise they’ll walk away, albeit drunk, wanting to buy a 4WD and a nice pair of boots. YeeHaw!”

— Tupelo Honey, KRVP


“Her vocal style recalls the rural sound that was crafted in the late ’50’s through the early ’70’s by the likes of Loretta Lynn, Tammy Wynette and Wanda Jackson. Like those three, Landry conveys deep emotion with powerful understatement and gets the most out the dramatic effects by using them judiciously…but it is fresh, intelligent interpretations such as Should Have Known that truly keep tradition alive.”

— Ben Sandmel, Louisiana Cultural Vistas



Should Have Known… (Soko Music)

“Who would’ve thought that the best honky tonk album of the year is by a woman that would be from the middle from Breaux Bridge, LA.  That area along Hwy 10 in Louisiana has a wealth of amazing Cajun musicians.  Landry has been around, playing many instruments with some of the best bands from Acadiana, including the all-woman Bonsoir Catin. For her first solo album, she lets out her twangy side and wrote all the songs herself and they’re mostly solid barrroom and cheatin’ tunes. There are many famous families of bayou musicians in Louisiana including the Landry’s but the best known may be the Savoy family. Yvette wisely stays close to home by employing Joel Savoy, who not only produced the album but he also plays on it. He’s a fine fiddle player especially when playing in tandem with the Wilder’s amazing fiddler Betse Ellis. Then you add the steel guitar of Richard Comeaux and the Red Stick Ramblers’ swingin’ guitarist Chas Justus and you got a band that could set a house on fire! Even though this is a country CD, there’s an slight Cajun hot sauce added that really gives it that extra kick!”