Cara Beth Satalino - Little Green

Cara Beth Satalino built her adulthood in feral, eccentric Baltimore, Maryland, waiting tables and playing in a band, keeping her schedule flexible just in case an opportunity arose. Though spontaneity seemed inevitable as an artist, she was paralysed by her own assumptions of what a musician’s life needed to be. Time passed undetectably - more songs written, more gigs played, tips in pocket on which to survive, undying hopes of “making it” in the music industry. In a moment of frustration, Cara Beth left Baltimore along with her partner Chester Gwazda - fellow member of indie band Outer Spaces. The couple moved to New Jersey only to be met with a chronic illness diagnosis for Cara Beth, a global pandemic, a surprise pregnancy, looming mental-health issues, and the inevitable obligation to quit school. So much upheaval after fifteen years of a predictable lifestyle led to the creation of Little Green, a bold, stripped-back, ten-song distillation of identity out April 2024 on UK label Worried Songs.

As “Warmth of A Golden Sun” opens Little Green with what feels like a folk-rock dirge over Casio drum machine beats- Cara Beth offers a sonic analogy about her move from weird city life into warm analog intimacy. “Dandelion Weed” plants the listener firmly into her ecosystem of pedal steel and close-microphoned acoustic guitar, but with succinct rock drumming that gives the song’s spaciousness a sturdy foundation.  Though the influences of Fairport Convention, James Taylor and Sandy Denny are all opaquely present throughout the record, surprising twists like the Velvet Underground electricity of “Little Green” and the classic 70s country shuffle on “Time”, broaden the scope out of upstate New York into the eclectic artist she has become.Sitting above this spacious sonic palette is the obvious allure of Little Green- Cara Beth’s voice.  Anachronistic in ways that delight and confuse the listener, her vocal tones span centuries, from traditional mountain singing to hints of young Dolly Parton and the delivery of Gillian Welch.  With a disarming casualness paired with unexpected intensity she posits in “The Great Liberator,” “we don’t know who we are, I suppose we’re still learning.  It’s too dark to see what’s in front of me.  There’s a bright star burning, the earth is still turning,” while in “Outlaw” she outrightly declares, “I wanna be the one who doesn’t settle for fear of being seen for who they are, fear of falling down the big staircase, fear was written all over my face,” a desperately vulnerable revelation amidst her personal chaos.Little Green is proof that the loss of control can create new possibilities and uncover hidden beauty.