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Upcoming Shows

February 28th, 2020 | Friday

Slick’s | 6:30pm-9pm

February 29th, 2020 | Saturday

Shenanigans Dahlonega | 8pm-11pm

March 5th, 2020 | Thursday

The Social | 8pm-10pm

March 6th, 2020 | Friday

Slick’s | 6:30pm-9pm

March 21st, 2020 | Saturday

Shenanigans Dahlonega | 8pm-11pm

March 27th, 28th & 29th | All Weekend

Literary Ink Tattoo Convention | See website for show schedule

March 28th, 2020 | Saturday

The Palace (Opening for Amanda Shires) | 8pm

April 2nd, 2020 | Thursday

The Social | 8pm-10pm

April 10th, 2020 | Friday

Naked River Brewing Company | 6:30pm-9:30pm

April 24th, 2020 | Friday

Slick’s | 6:30pm-9pm

April 30th, 2020 | Thursday

TASTE @ Stratton Hall | 6pm

Contact + Booking

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About

Blowing across the surface of the Tennessee River is the hint of an acoustic guitar and a voice — a voice that possesses both an inherent strength and vulnerability. Slowly, other noises become drawn into its gravity: bits of sparse piano, some orchestral flourishes and the odd crackle of an electric guitar. At the center of this growing roar is Chattanooga musician Amber Fults, who delivers euphoric self-expression from within the intersection of the singer-songwriter and pop-rock aesthetics. Her music, however, isn’t merely the sum of these particular genres – her musical roots branch out in countless directions, drawing upon a wealth of inspiration and experience to fashion this persuasive and occasionally aching sound.

Full Bio

From childhood, her head was filled with musical possibilities, with the echo of sounds yet to be realized. She quickly discovered an affinity for the acoustic guitar and develop an innate rapport with the instrument. The pluck and reverberation of the strings complimented her soaring vocal style and inherent rhythmic aptitude. It became an extension of her personality, another manifestation of personal revelation as well as confirmation of a remarkable internal resilience. And it didn’t take long for others to see both sides of her creativity – the uncomplicated inclusivity and the emotional complexity –and to place themselves within her musical trajectory.

After a previously failed band experience, she started playing with guitarist Butch Ross and bassist Travis Kilgore in November of 2011 while singer Hayley Graham Duncan and drummer Hunter White were brought into their fold a few months later. They soon took on the moniker of Amber Fults and the Ambivalent Lovers and began the process of building upon the solo material that Fults had accumulated up to that point. Her acoustic ruminations became larger and more intricate, leaning more toward an anthemic pop-rock theatricality than the stripped-down folk expressions she had initially favored.

Rather than sacrificing the intimacy of her early work for some sort of pop accessibility, however, this more expansive context allowed the music to grow in unanticipated and welcome ways. The band became more attuned to one another’s musical impulses and developed a faithful following in Chattanooga and the surrounding areas. They would go on to win the headlining spot for the “Road to Nightfall” competition in 2013, gaining further exposure for their hybrid of folk, pop and indie rock. But even within this band orientation, Fults’ specific musicality shone through, illuminating both her earnest need for emotional connection and an empowering sense of self-identity which continued to guide her work in subsequent years.

She would go on to form the duo The Goodbye Girls with Hayley Graham Duncan in late 2013, with the group performing together for the first time at the “After Thanksgiving Music Extravaganza.” In a departure from their time with The Ambivalent Lovers, the music of The Goodbye Girls reached back to the spare and gorgeous folk stylings that first inspired Fults all those years ago. And while these various collaborations offered a welcome musical outlet for Fults, she always held firm to her own rhythmic distinctiveness, her idea of what she should be doing at any given moment. Even when she approached other artists to contribute to her later solo music, their contributions were in service to her own particular vision and aesthetic – nothing felt segmented or piecemeal. It was a coherent and persuasive statement of intent thoroughly guided by Fults’ mesmerizing creativity.

Through her folk-tinged arrangements, she offers both an evocative minimalism and something that often rises into the realm of orchestrated indie pop. With a voice that can evoke somber revelation and joyous euphoria in equal measure, she never lingers in a single rhythmic moment for very long, opting instead to pursue a wide range of influences and inspirations. Ever questioning and always eager to connect with anyone within earshot, she uses music as a means of connection, of communication. Whether she’s exploring the dissolution of a caustic relationship or the intoxicating happiness of finding freedom from personal tribulation, her music encourages and advocates for discovering a healthy self-worth – she doesn’t wallow in past darkness but uses those memories to find a way to keep those things as far from her as possible. Amber Fults speaks from the heart, an often bruised and worn thing, but also a heart filled with love and support, and open to all the new experiences surrounding her.