Peter Zimmerman, Author at Glide Magazine

Over the Rhine: The Long Surrender

Peter Zimmerman January 24, 2011 No Comments

Over the Rhine has negotiated their space among contemporary music as inhabiting both old and new, bringing in elements of the past and updating them with intimate production, razor-sharp arrangements and excellent songwriting. One of their main weaknesses, however, has been in the parallel and often uniform sound that they have across their oeuvre, and that's fairly apparent on The Long Surrender.

Ana

Peter Zimmerman January 18, 2011 No Comments

Hadestown is unlike any other musical you might have seen in the past ten years. It’s not based on the songbook of some famous artist. It’s not an adaptation of yet another well-known Disney movie. Hadestown is in a class of its own, and as such it’s often difficult to describe. Sure, it’s about Orpheus’ descent into the underground to rescue Eurydice from Hades’ grasp, but what makes the show so successful is its employment of ambiguity throughout the whole ordeal.

Anais Mitchell: California Sings Hadestown! San Francisco, CA 12/12/2010

Peter Zimmerman January 18, 2011 No Comments

The last thing many would expect from Anaïs Mitchell would be a foray into psychedelic folk rock. This transition period, though, signals that Anaïs Mitchell is not only a voice to watch out for, but to actively pursue.

Paula Cole: Yoshis SF, San Francisco, CA 11/3/10

Peter Zimmerman December 21, 2010 No Comments

On her most recent album Ithaca, Paula Cole often sings about the process of homecoming, using the Greek myth of Odysseus and his ten-year sojourn away from home as a parallel for her album. The title, as well as the music on the album itself, is deeply personal, denoting upheaval, discord and eventual calm. While this comparison between her journey and Odysseus’ is especially apt, it can be extrapolated further to describe pretty much the way Paula Cole writes music.

Steven Page: Page One

Peter Zimmerman December 17, 2010 No Comments

Steven Page has the ability to spin a moment of turmoil into both hopeful and hopeless, and it is the oscillation between these two that make him such a strong songwriter. Whereas his co-BNL writer Ed Robertson either came across as too earnest or too banal-parading-as-comedic, Page strikes an excellent emotional balance when deciphering the human experience, and it's no more apparent than on opener "A New Shore."

Stars: The Fillmore, San Francisco, CA 11/10/10

Peter Zimmerman December 8, 2010 No Comments

Oftentimes bands lose steam after a year of promoting an album, tapering off at the end from the weariness of touring and media appearances, but this was not the case as Stars winded up their last tour to support Ghosts in November. Instead, they burst with energy and ended the era on a serious high note.

Kim Richey: Wreck Your Wheels

Peter Zimmerman December 6, 2010 No Comments

Despite having a fairly successful fifteen-year career, Kim Richey is still virtually unknown to the general public. While she's sung on albums by Shawn Colvin, Ryan Adams and Mary Chapin Carpenter, as well as writing hits for the likes of Trisha Yearwood and Brookes & Dunn, Richey continues to fly under the collective radar of both country and rock radio.

Azure Ray: The Independent, San Francisco, CA

Peter Zimmerman November 11, 2010 No Comments

Azure Ray fans have been eagerly anticipating their return, despite the lengthy wait. Taylor and Fink certainly delivered in many ways on Sunday at the Independent, but at times their musical weaknesses (lack of experimentation, crowd connection and risk-taking) became particularly apparent in the live setting. Even so, it was a thrill to see them back together again. The show was a night of real emotional catharsis, and a great way to bring Taylor and Fink back into the indie music fold.

The Weepies: Great American Music Hall San Francisco, CA 10/16/10

Peter Zimmerman October 29, 2010 No Comments

The material for The Weepies' 90 minute set came from all three albums fairly equally, yet unfortunately omitted any of the tracks from Happiness, their debut record. Still, for most fans this was the first time hearing two-thirds of that material—really anything written and released post-2007

Jenny and Johnny: Great American Music Hall, San Francisco, CA 9/2/10

Peter Zimmerman October 1, 2010 No Comments

Jenny Lewis writes incredibly good pop songs that are fairly upbeat, intellectual and catchy. Her voice is an instrument with which to be reckoned, and every time I’ve seen her perform in the past has been a delightful and exciting experience. Unfortunately, this show seemed unrehearsed, emotionless and disingenuous. I would have rather stayed home and listen to the record and reminiscing on the great times I’ve seen her play with Jonathan Rice and they didn’t make the audience feel used and part of a big joke.

Peter Zimmerman

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