Down"* "Last Bus Out" "Pauvre Coeur"* "Peter Pan" "Basset Hound" "Butterfly Catcher" "Heathen"* "True North" "Cameron" (stripped) "17" (B-side) "Box of Crayons" (B-side) *Previewed on Whiskey & Frosting (EP) All I Ever See in You Is Me After many years in New York City, Johnson moved to Los Angeles briefly before permanently making her way to Nashville. She released her sophomore album All I Ever See in You Is Me on July 28, 2017 through Rounder Records. The album marked a sonic departure from her first album, eschewing grand production in favor of sparse, live band instrumentation that highlighted her classic songwriting roots and vocal command. Produced by Dave Cobb at RCA Studio A in Nashville, it was met with widespread critical acclaim from Billboard, Paste, Marie Claire, ELLE and AllMusic who rated it 9/10 stars and touted its "emotionally rich feast of countrypolitan-tinged confessionals that find the sweet spot between balmy '70s FM pop and agile and arty 21st century indie Americana." Johnson embarked on a headline tour and also supported artists such as Penny & Sparrow and Parker Millsap. Track listing Bunny Love Is Blind Throw Out Your Mirror Holiday Flip a Coin In Repair Not Tonight Like You Raised Me I'm Sorry All I Ever See in You Is Me Thumbelina It's a Beautiful Day and I Love You In the four years since relocating to Nashville after making All I Ever See In You Is Me, Johnson said she made friends easily in the new city and also met and married her husband. The new relationships, both personal and professional, brought with them a renewed creative confidence, which resulted in Johnson's third studio album, It's a Beautiful Day and I Love You. Released on February 12, 2021, it was recorded in East Nashville and was produced by Joe Pisapia, engineered by Dan Knobler, and features bassist Owen Biddle and drummer Jamie Dick. It has already garnered praise from Rolling Stone, American Songwriter, CMT, and Refinery29. American Songwriter called Johnson a rare gem in Nashville, having written the entirety of the album alone, running contrary to the common Music City practice of co-writing. British music monthly UNCUT also commented, "Following the ostentatious piano pop of 2013's Water In A Whale and the austere Nashville twang of 2017's All I Ever See In You Is Me, her latest uses country as a springboard into '60s pop, '70s rock,