In a world that often moves too fast to feel deeply, Miss Freddye brings us back to the heart of the blues with her latest single, “Slippin’ Away”—a slow-burning, soul-wrenching masterpiece that reminds us why music is humanity’s greatest mirror. Affectionately known as Pittsburgh’s “Lady of the Blues,” Miss Freddye has long been a guardian of the genre’s emotional core. With “Slippin’ Away,” she steps not only into the role of interpreter, but also into the shoes of a custodian of grief, memory, and grace. This is more than a blues ballad—it is a soul confession laid bare, and it places her artistry in a realm few vocalists ever reach.
Written by the late Mike Lyzenga on February 25, 2018, “Slippin’ Away” is drenched in heartbreak from its very first breath. But in Miss Freddye’s hands, the song becomes more than a lament—it becomes an elegy for love that once soared but now teeters on the brink of silence. Her decision to produce the track herself is telling. This is personal. This is intimate. Every word, every note, every pause carries her fingerprint.
Recorded at Red Caiman Media in the North Hills of Pittsburgh, the production captures the sanctity of a single tear falling in the dark. It’s blues at its most sacred. Flanked by a team of veteran musicians—Mike Huston (guitar), Jeff Conner (keys), Greg Sejko (bass), and Bob Dicola (drums)—Miss Freddye creates a sonic landscape that bleeds with quiet devastation.
The guitar doesn’t just accompany—it cries. Huston’s fretwork echoes like a memory calling from far away. Conner’s keys float through the arrangement like unanswered questions. The rhythm section, steady and solemn, becomes the heartbeat of a love fading into the dusk. Together, they don’t just play music. They hold a wake for a relationship in decline.
Lyrically, “Slippin’ Away” wields a disarming simplicity. Its strength lies in its restraint. This is not poetic indulgence—this is conversational heartbreak. “I don’t know where we’re goin’, I don’t know where we’ve been,” Miss Freddye sings, not as a performer, but as a woman staring into the mirror of a relationship’s ruin. It’s not just confusion—it’s existential fatigue.
The refrain—“Do you feel our love… slippin’ away”—acts as a spiritual tether, binding each verse to the song’s emotional nucleus. It’s repetition not for emphasis, but for disbelief. If there is any pleading here, it’s the kind that happens long after the shouting has stopped—quiet, tired, and steeped in resignation.
Each stanza peels another layer from the wounded heart. There’s fire—“Baby all these dreams that we shared / Are goin’ up in flames”—and there’s fragile hope—“Cause darlin’, I still love you too.” It’s this emotional duality that transforms the song from a standard breakup blues to an intimate portrayal of how people grieve while still holding on.
As producer, Miss Freddye makes shrewd choices. There’s no overproduction here. The mix is clear and honest, each element occupying its space like a candle in the dark. The vocals are front and center, where they belong, but never overpower the soul of the instrumentation. The interplay between guitar and keys mimics the conversation—sometimes harmonious, sometimes at odds. Meanwhile, the bass and drums carry the burden of inevitability. This is music that breathes. It weeps. It waits.
What elevates “Slippin’ Away” from a heartfelt blues number to a masterclass in genre fusion is its subtle undercurrent of soul and gospel. While the structure remains quintessentially blues, Miss Freddye’s phrasing, her emotional pacing, and the track’s sonic warmth nod to the church pews of her youth, where truth was often sung before it was spoken.
This cross-pollination doesn’t dilute the blues—it deepens it. Her voice carries the echoes of Koko Taylor, the power of Big Mama Thornton, and the vulnerability of Etta James, yet it remains unmistakably her own. She is not imitating—she is continuing the lineage.
Miss Freddye’s journey is as compelling as her voice. Having begun in church choirs before immersing herself in the blues in 1996 under the guidance of “Big” Al Leavitt, she has gone on to lead bands like Blue Faze, Miss Freddye’s Blues Band, and Miss Freddye’s Homecookin Band—each an extension of her passion for storytelling through music.
Beyond the stage, her work with charitable organizations like Relay for Life, Toys for Tots, and Band Together Pittsburgh reflects an artist who doesn’t just sing about love and loss—she lives it, gives it, and channels it. Her awards and nominations—from Iron City Rocks Awards to Blues Foundation recognition—are testaments to her skill. But it’s the raw honesty of tracks like “Slippin’ Away” that explain why audiences continue to be moved, healed, and held by her voice.
“Slippin’ Away” isn’t just a new single. It’s a chapter in the grand book of blues—a story of loss told with grace, patience, and gut-wrenching sincerity. In a time when overproduction often drowns out the truth, Miss Freddye gives us a reminder: the most powerful music is the kind that dares to be vulnerable.
With this release, she doesn’t just cement her status as Pittsburgh’s Lady of the Blues—she confirms her place as one of the genre’s great emotional translators. Blues may be about heartbreak, but in Miss Freddye’s hands, even loss becomes a kind of communion. And we are all the better for it. Stream “Slippin’ Away” now. Let it speak, let it sting, and let it stay.
Find more information on the Miss Freddye website: https://missfreddye.com
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