Berkeley singer-songwriter Andrea Prichett, best known for an acoustic folk sound with her former band, is on an expanded journey with her new recording “The Frame.”  

“It was just guitars and voices and that close harmony that really defined the sound of Rebecca Riots. In this situation, we’ve got keyboards and violins and horns,” she says, adding that it’s a “dream come true” to hear her musical ideas being fleshed out with greater instrumentation.  

On Jan. 5 at the Freight & Salvage in Berkeley, Prichett will perform a CD release concert joined by almost the full lineup of musicians, many good friends, who play on the album. They include: Lisa Zeiler, her former Rebecca Riots bandmate (who co-produced “The Frame”) on rhythm guitar; Shelley Doty on lead guitar; Michaelle Goerlitz on percussion; Isaac Coyle on bass; Deb Hungerford on keyboards; Kasey Knudsen on saxophone; Marina Garza on trumpet, Irene Sazar on violin; and Maggie Forti and Green Huse on backing vocals.  

Making “The Frame,” Prichett happily recruited the piano, sax and trumpet players of the Shake It Booty Band, a fun dance cover group she joined after Rebecca Riots, a feminist folk trio, ended in 2009.  

Hungerford, the pianist, co-wrote a couple of newer tunes on “The Frame,” including the title track, about which Prichett says, “The idea of the frame is that where you hold the frame will decide what you capture; it’s the idea that we amplify and create based on the vision that we hold.”  

Prichett contrasts that tune with “The Avenue,” a song she wrote about 15 years ago, about Berkeley’s famous street: “There was a time when Telegraph Avenue was such a vibrant place of counterculture and activism; you know, back when the Grateful Dead played and Deadheads would flock to the avenue; and that gave way to just, kind of, flocks of homeless kids. Now the city has more of a policy to stop that from happening, and so the song ‘The Avenue’ is sort of a marker,” she says, calling it a remembrance of a specific time and place.   

Prichett, a schoolteacher and longtime activist with Berkeley Copwatch who has been working for decades to stop police misconduct, says the songs on “The Frame” don’t necessarily emphasize “art in service of social change” — something characteristic of most of her music until somewhat recently.   

“I think it’s got a wider lens. The spiritual and the personal and the political are, I think, more in balance in this work than in my previous stuff,” she says, adding, “If I’m running around in political circles, they don’t want to hear about my spirituality. If I’m running around in spiritual circles, they’re not that interested in my partisan political views, and so [‘The Frame’], I think, represents no apologies.”  

Having been compared to Joan Armatrading, Prichett (who grew up singing in her bedroom along with Stevie Wonder and other Motown artists, Aretha Franklin, Joni Mitchell and James Taylor), considers her voice her primary instrument, though she uses guitar when she’s songwriting. Of her upcoming show, gladly turning to paid professionals, she says, “I feel super happy that I’m going to get to play this gig and not have to stumble and fumble with my guitar playing.”  

She’s also calling the concert “a message in a bottle,” given that regular repetitions aren’t likely due to economic limitations.  

But she’s pleased that “The Frame” is being offered as a digital download accompanied by an attractive full-color booklet created by her partner Karen Adelman with lyrics, illustrations and photos that will be on sale at the Freight & Salvage show.  

Andrea Prichett and Friends appear at 8 p.m. Jan. 5 at the Freight & Salvage, 2020 Addison St., Berkeley. Tickets are $18 to $24; visit