What he does well here, and has always done well, is to embody traditional music; its harmony, its lyrical themes, and at the same time imbue the music with a vitality that never feels forced or disrespectful of its roots.
The track [“Weeping Mary”] isn’t as simple as it seems, yet it works nicely as just-a-folk-song, the sort of approach that Amidon’s been refining for a decade now. Bright Sunny South is full of these unhurried, easy moments, and succeeds because of it.
Though other instruments emerge from their corners their sparing deployments against Amidon's fragile voice lends them a far greater power, like vivid flourishes of colour in a starkly monochrome film. [Jun 2013, p.92]
There’s a melancholic elegance in Amidon’s pieces that express nuanced forms of sadness, and as demonstrated in songs like Short Life and Pharaoh, sublime chamber arrangements spruce up those feelings of sorrow.
Bright Sunny South is Amidon's sixth solo effort and like previous releases, the key to the album's potency lies in how the Brattleboro, Vermont, native creates emotional dichotomies and then bridges the expansive gulfs in between.
Bright Sunny South doesn't stray too far from Amidon's previous work, but still suggests his development in its gorgeous production, increasingly deft arrangements, and a general sense of greater confidence and vision throughout the record.