Lindi Ortega gives fair warning: “Don’t come any closer to my heart /If you’re afraid of the dark.”

However, that shroud is slowly lied in Liberty. As the narrave unfolds in this concept album, a central character emerges – one who finally sheds the darkness of her past and emerges into the light. As melodies and tempos change throughout Liberty — and its accompanying album of solo instrumentals, Liberty: Piano Songbook — her journey carries her steadily forward. Listen closely and you’ll find Ortega’s experiences in the lyrics too.

“I think the most important thing for me was that I ended on a very posive note because I've had so many people tell me that my songs helped them through really hard mes in their life,” Ortega says. “That struck a chord for me, because just like everybody else, I have had hard mes in my life, and connue to have pockets of difficult moments here and there. If I can provide some sort of solace with my music, then that gives me every reason to make music. I wanted this record to be all about helping people through the darkness.”

The melodies and arrangements of Liberty draw on the epic work of Oscar-winning composer Ennio Morricone, who became one of Ortega’s musical obsessions during the wring and recording of Liberty. Moreover, she enlisted Nashville producer Skylar Wilson (Joshua Hedley, Jusn Townes Earle, Rayland Baxter) when she discovered their shared passion for Quenn Taranno movies.

During the Liberty sessions, Ortega and Wilson scaled back the boot-stomping, throwback country approach that she’s known for, instead polishing a set of music that reflects her lineage. Her father is Mexican; her mother is Irish. The spaghe-Western sonic landscape of Liberty is enhanced by Nashville band Steelism, known for their dramac blend of pedal steel guitar and electric guitar, as well as Country Music Hall of Fame member Charlie McCoy on harmonica.

Liberty received widespread acclaim, with Pitchfork finding Ortega “celebrang her arsc freedom by showing us how an old pop-culture tradion can be made new and vibrant. NPR’s Weekend Edition called Liberty “a journey that takes you to unexpected places” — a journey Ortega unexpectedly extended with Liberty: The Piano Songbook.

“I didn’t feel like I was quite done with Liberty,” Ortega says. “I didn’t want to write a full sequel, but it needed something else. This seemed like a logical next step to take.”

Ortega and Wilson developed the concept for the Piano Songbook, with mul-instrumentalist Robbie Crowell (Kesha, Midland, Deer Tick), who had played with Ortega previously, recording the solo arrangements at Creave Workshops in Nashville. The fresh versions of these songs transform them, moving away from the spaghe-Western producon while maintaining a cinemac tone that musically complements the lyrical themes of Liberty.

“I created Liberty for people going through a struggle,” says Ortega, who wrote the songs out of her own vulnerabilies, including self-image issues. “I wanted to extend that with the Piano Songbook, and I hope it adds an extra soothing element.”

While Ortega does play piano, having another musician record Liberty: Piano Songbook allowed her the crical distance to enjoy her songs as a listener, free of the self-crical ear arsts typically bring to their own work.

“I find myself appreciang the melodies,” she says. “I can pay aenon to them when I’m not having to pay aenon to what my voice is like or how I’m singing.”

Ortega staged a North American and European headlining tour in 2018, and also toured with Jason Isbell and Asleep at the Wheel. In August, she released Liberty: Parkhill Sessions, recorded at the Parkhill Studios in Calgary, Alberta. The EP featured stripped-down versions of three Liberty songs — “The Comeback Kid,” “Forever Blue” and “Lovers in Love,” recast as a duet with Corb Lund.

“Even though I always tried to have a silver lining, whether it's by making my songs tongue-in-cheek, or wring some dark lyrics to happy music, there's always been an element of balancing light and dark on my previous albums,” Ortega explains. “But this is a full story, and I wanted everybody to be able to take something away from it at the end of the day.”