Sixpence None the Richer is an American pop/rock band formed in New Braunfels, Texas in 1992. The group disbanded in 2004 and reunited in 2007. Its current members are vocalist Leigh Nash, guitarist/cellist Matt Slocum, bassist Justin Cary, and drummer Rob Mitchell.

!!Studio discography
* ''The Fatherless and the Widow'' (1994)
* ''This Beautiful Mess'' (1995)
* ''Sixpence None the Richer'' (1997)
* ''Divine Discontent'' (2002)
* ''The Dawn of Grace'' (2008)
* ''Lost in Transition'' (2012)
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!!Tropes that apply to Sixpence None the Richer include:

* AlbumTitleDrop: ''This Beautiful Mess'' is taken from a line in "Within a Room Somewhere".
* AsTheGoodBookSays: Their lyrics contain several Biblical allusions, and "Meaningless" is directly taken from the Old Testament book of Ecclesiastes.
* BilingualBonus: "Puedo Escribir", inspired by the poetry of Pablo Neruda.
* {{Bowdlerise}}: The original version of "Amazing Grace (Give It Back)" found on the ''My Dear Machine'' EP has this to say about God: "You're everywhere in every time/And yet you're so [[PrecisionFStrike damn]] hard to find." The re-recorded version for ''Lost in Transition'' changes it to "And yet you're always hard to find".
* ChristmasSongs: ''The Dawn of Grace''.
* TheCoverChangesTheGender: Averted by "There She Goes", where it's still a "she" despite a woman singing it. Overlaps with MisaimedFandom, as "she" is actually heroin.
* DarkerAndEdgier: ''This Beautiful Mess'' deals rather unflinchingly with depression in many of its tracks. Owing the presence of guitarist Tess Wiley for that album only, ''This Beautiful Mess'' also has a pronounced {{Shoegazing}} influence not heard on any of their later albums. Songs like the lead single "Angeltread" aren't quite hard rock, they're closer to Music/{{Lush}} than Music/SmashingPumpkins, but they're certainly the heaviest the band ever got.
* EmpathicEnvironment: "A Million Parachutes" links the titular snowflakes ("a million parachutes, like small men on a mission") with the singer's effort to overcome homesickness and remain hopeful.
* EpicRocking: The live version of "A Million Parachutes" converts a dreamy ballad into their very own "Comfortably Numb".
* FadingIntoTheNextSong: The self-titled album has two "trilogies", so to speak, that do this: The opening "We Have Forgotten"/"Anything"/"The Waiting Room" and the "Sister Wisdom Trilogy" consisting of "Sister Mother", "I Won't Stay Long", and "Love".
* GodIsLoveSongs: Surprisingly averted, though played straight in "Breathe Your Name" and perhaps in "Melody Of You" (in which "You" is God) and "I've Been Waiting".
* GratuitousPanning: The opening verse of "Disconnect".
* GreatestHitsAlbum: Almost as many studio albums as the band's released so far! ''Collage: A Portrait of Their Best'' collected highlights from their earlier material to catch newer fans up after "Kiss Me" hit it big, while ''The Best of Sixpence None the Richer'', ''The Early Years'' and ''Greatest Hits'' all appeared during the long wait between ''Divine Discontent'' and ''Lost In Transition''.
* GriefSong: "Sooner Than Later" is a brief eulogy for Leigh Nash's father.
* IWantMyBelovedToBeHappy: "Be OK".
* JanglePop: The band's main style for most of their career. They were often compared by critics to bands like The Innocence Mission, Music/TheSundays, and Music/TenThousandManiacs, all whom they counted as influences.
* LampshadeHanging: A rare non-humorous example in the opening line of "Anything": "This is my forty-fifth depressing tune."
* LastNoteNightmare: ''This Beautiful Mess'' ends with "I Can't Explain", which terminates somewhat abruptly.
* LighterAndSofter: ''Divine Discontent'' was a much more pop-oriented album than the ones which preceded it, though it still has its angry/moody moments.
** ''Lost in Transition'' is arguably even softer than ''Discontent''.
* LivingEmotionalCrutch: "Safety Line" could be the theme song for this trope.
* LyricalDissonance: The ''Lost In Transition'' album is musically softer than any of their earlier works, but the lyrics deal with themes such as divorce, bereavement, spiritual aridity, and the difficulties of moving on from past relationships.
* LoveHurts: A major theme on the ''Lost In Transition'' album - "Go Your Way", "Don't Blame Yourself", "Be OK" and "I Do" are all, to a greater or lesser extent, inspired by the breakup of Leigh Nash's first marriage.
* LyricalColdOpen: "Failure" and "Radio".
* MiseryBuildsCharacter: "Still Burning" and "Tension (Is A Passing Note)" from ''Divine Discontent'' deal with this.
* MoodWhiplash: The transition from the moody trilogy that opens their self-titled record to "Kiss Me" can seem a bit jarring, and most of the rest of the album is similarly downbeat. Matt Slocum wanted to leave "Kiss Me" off the album for this very reason, until a producer persuaded him to include it.
* PrecisionFStrike: They used a PG-rated version ("damn") on the original version of "Give It Back", but even this drew enough fire for them to delete it on the final album version.
* RearrangeTheSong: The final track on ''The Fatherless and the Window'' is "Trust (Reprise)". a complete remake of "Trust" from earlier in the album, replacing the upbeat acoustic guitar strum with solemn piano and cello. It's arguably the better-known version of the song.
* RevolvingDoorBand: An array of bassists, drummers, guitarists, and even a keyboardist have come and gone over the years. Matt and Leigh have been the only constants.
* RockstarSong: "Spotlight" attests to an uneasiness about fame, which is interesting considering how early in the band's career it was written. "We Have Forgotten" is about the temptation to sacrifice youthful idealism and become a cog in the corporate machine.
* SelfTitledAlbum: Their ''third'', rather than their first. Since the album contains their breakout hit "Kiss Me", and since their earlier work is largely out of print, it's easy to forget about the two albums before it.
* SillyLoveSongs: "Kiss Me" would be the obvious choice, but they also had "Field of Flowers" in the early days. Leigh's solo album ''Blue on Blue'' was full of these.
* TranslatedCoverVersion: the self explanatory "Kiss Me (Japanese Version)", which appeared on one of the greatest hits albums - everything was translated into Japanese except for the title drop.
* UncommonTime: The verses of "Puedo Escribir" are played in 11/8 time.
* WhamLine: "I've Been Waiting" sounds like a melancholy love ballad, until the four-line chorus ("and I'm changing who I am") kicks in, and you realize the song [[GodIsLoveSongs is probably about a different sort of love.]]. "I Do", a bonus track from ''Lost In Transition'', sounds like a SillyLoveSong in the vein of "Kiss Me" until the bridge makes it clear that it's about a couple working through relationship troubles.
* WhileRomeBurns: "Paralyzed". Matt's encounter with a journalist who lost a friend in Kosovo leaves him feeling like his band, with its three-minute pop songs, is "fiddling while Rome is burning down".
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