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After more than a decade exploring psychedelic pop, jazz, and electronic textures through her project Sis—most recently as <a href="spotify:artist:5CgoAdK8Yf7ysG7t5IFuZh" data-name="Sis and the Lower Wisdom">Sis and the Lower Wisdom</a>—Jenny Gillespie Mason returns to the folk music she first began writing and recording as a teenager. Her new album, In the Safety of the Light (out 6/12/26 on Native Cat Recordings), was produced by Noah Georgeson (Joanna Newsom, Devendra Banhart) and recorded in spring and fall 2026 at a private studio in Los Angeles.
The album moves through questions of how to live a spiritual life while remaining fully human. The singles “Rungs of Love” and “Medicine of Light” trace the fragile ladder between earthly love and higher devotion. “Touch Everyone on Earth” unfolds like a dream-prayer; during a long sleepless night in a New York City hotel room, the narrator imagines the Divine Mother answering her plea to heal a traumatized world.
Sonically, In the Safety of the Light draws on the pastoral glow of 1970s British folk, with echoes of Catherine Howe and Fairport Convention, while sailing at times into atmospheric sounds inspired by the ambient music of Hiroshi Yoshimura and the more cosmic folk ballads of Beck. Most of the songs were recorded live as an ensemble, allowing the arrangements to breathe and shimmer around performances by Mason on acoustic guitar, Wurlitzer, and vocals, with Josh Miner Adams on percussion, Todd Dahlhoff on bass, Benny Bock on synthesizers, Gabe Noel on cello, and Alex Budman on woodwinds.
The album moves through questions of how to live a spiritual life while remaining fully human. The singles “Rungs of Love” and “Medicine of Light” trace the fragile ladder between earthly love and higher devotion. “Touch Everyone on Earth” unfolds like a dream-prayer; during a long sleepless night in a New York City hotel room, the narrator imagines the Divine Mother answering her plea to heal a traumatized world.
Sonically, In the Safety of the Light draws on the pastoral glow of 1970s British folk, with echoes of Catherine Howe and Fairport Convention, while sailing at times into atmospheric sounds inspired by the ambient music of Hiroshi Yoshimura and the more cosmic folk ballads of Beck. Most of the songs were recorded live as an ensemble, allowing the arrangements to breathe and shimmer around performances by Mason on acoustic guitar, Wurlitzer, and vocals, with Josh Miner Adams on percussion, Todd Dahlhoff on bass, Benny Bock on synthesizers, Gabe Noel on cello, and Alex Budman on woodwinds.
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