Welcome to the world of L.C. Franke, an Austin, TX-based vocalist that makes easy listening for anxious times—sophisticated jazz-pop that smolders with woodwind trills and orchestral swells, surrounding a worldly croon that harkens back to an age of barstool balladeers like Frank Sinatra, Scott Walker, and Blossom Dearie. Franke sings sentimental, smoke-gets-in-your-eyes songs that are rendered as sharp as a custom-cut suit, evoking lonely subway rides past abandoned automats, and those halcyon days before the Brill Building housed a CVS.
His early shows opening for the likes of The Walkmen (Official ACL FEST Nights) and The Wallflowers have already given audiences an early entry into L.C. Franke’s twilit jazz-club spell. His forthcoming debut headline show at Monks Jazz Club in Austin, TX on Sunday, December 10 sold out almost immediately, and Franke will make numerous appearances across 2024 in the lead-up to the release of his forthcoming debut album, a stunning showcase recorded with a full orchestra of award-winning, master musicians and artists. Stay tuned for more information on L.C. Frank’s debut album, along with additional live appearances, to be announced in 2024.
At his writing table facing the window, the staccato rhythm of L.C. Franke’s typewriter keys pierce the sound of the gentle ocean breeze. It’s a warm day in Antibes and the sheer curtains appear to slowly dance, creating a Gaussian blur to the waves and Mediterranean Sea outstretched below. Sheets of song lyrics are strewn across the table, with a yellowed copy of The Paris Review and the lace of a charmeuse camisole peeking from below the freshly inked pages.
During the day, L.C. Franke alternates between espresso and tequila, when the evening stretches into night, he switches to rye whiskey and the occasional break with herbal tea.
He’s fine left alone with his thoughts but enthusiastic while in the acquaintance of small company. He’s connected, gotta-a-guy for everything, but doesn’t brag about it. His witty sarcasm endears him to people and seems to get him what he wants without having to ask a question. He prefers poetry to politics but does the right thing when no one’s looking. And he’s religious only in terms of obsessions; “communion” is what L.C. calls a long Sunday bath to the soundtrack of Lester Young or Nat King Cole.
Recorded with a full orchestra over the course of two long weekends in Central Texas, L.C. Franke’s forthcoming debut, much like himself, is full of mystery, romance, and a sense of haunting timelessness. His voice is at once smooth and gritty, vulnerable and powerful, and perfectly complemented by the lush orchestral arrangements and rich atmospheric backdrop.
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