Jordan Lette of The Folly (Photo by Alesia Schraf)
Like a well-spun stone, The Folly skims across genres without sinking. The band’s name is purposely ambiguous. In addition to foolishness, the word can mean a fanciful construction or — as in the case for its inspiration: Folly Beach, South Carolina — a verdant tangle. The group is an evolving collective assembled by Richmond artist Jordan Lette.
For Lette, who grew up in a musical family, starting a band was natural. His father played guitar in Detroit in the ’60s and ’70s. His brother also played. “I thought, ‘Wow, I want to do that,’” Lette says. Starting with drums, he moved on to guitar and piano and began writing songs. Self-taught, his development was organic, not academic. “I play by feeling,” he says. “Sometimes I wish I had learned notation. But that’s like saying if you have straight hair, you want curly hair, and vice versa. What matters is not whether you are technical, but if you are happy with how you use your capabilities.”
The Folly formed in 2015, Lette says, “and it has been progressing ever since. There have been good things. We’ve released music. We’ve played festivals, including FloydFest. But this year, it has taken an exciting new turn with the musicians I have with me now. We play lots of originals, and lots of covers as well. But we are very flexible in the styles of music we choose.”
The Folly’s third release, “Pushing Ground,” is planned to drop later this fall. It captures the latest iteration of the band in a set of songs written over the last three years. “I really wanted to take my time with this album,” Lette says. “After COVID, we were all trying to figure out how to reconnect. It was great to go into the studio again, write the songs and decide who to bring in to play.” The group lays down the basic tracks using the vintage 1968 Flickinger recording console at local studio Montrose Recording. Nashville’s legendary Hilltop Studios is handling mixing and mastering.
Lette is the primary vocalist, plays guitar and piano, and writes and arranges the songs. Josh Santamaria plays drums, and Brendan Folmar is on bass. Extending the band’s sonic palette are Tara Dillard on violin and vocals, Valerie Jemison on saxophone, Martha Cassidy on trombone, and Rachel Marrs and Buttafly Vazquez Santamaria on additional vocals. “It is a very eclectic group,” Lette says. “And everyone brings a lot to the table.”
The title song, “Pushing Ground,” according to Lette, is a meditation on self-imposed pressure in the guise of a breakup song, with lyrics noting, “You weigh me down.” “Jamblin’” has a bright, melodic, highlife guitar feel. “The Flying Kind” is a lighthearted paean to insects. “Plunger” features up-tempo rock guitar and trombone. “The Ballad of Those Deceived” is a gentle, mid-tempo lament about the gullible public.
The album ends with the optimistic lullaby, “You, Me, Everyone.” “You don’t have to feel bad about what you are doing,” Lette says. “We’ll get through this together.” The single is available now in advance of the full album’s release, and Lette says they’re currently working on a music video for it that prominently features American Sign Language interpreters.
It’s neither a concept album nor a random collection. The creative process is emergent rather than architectural. “It’s hard to describe exactly what an album means,” Lette says. “It chooses its own path, and then you have to go along with it. You can’t control whatever it morphs itself into.” The journey itself is the point.
The Folly’s upcoming album “Pushing Ground” is planned for a late fall 2025 release. Catch Jordan Lette and the band when they perform at The Camel on Oct. 22 and at Bellwether Garage on Nov. 15. For more information, visit instagram.com/_thefolly_.
