Artist description Dave Hall, whose poetic folk-rock is more exotic than his name might imply, is a singer, composer, and arranger of uncommon artistry. Classically trained, yet firmly rooted in the American folk-storyteller tradition, the multi-ethnic Hall (he's English, Irish, Norwegian, Italian and Lebanese), weaves the various threads of his musical heritage into a tapestry of poetry and music that includes elements of folk and rock. In Hall's music one can hear the Anglo-Celtic ballads of his father's Northern European background, the wailing passion of his mother's Mediterranean heritage, and the balance and structure found in classical music.

Music Style Acoustic Folk/Rock

Musical Influences Cat Stevens, Joni Mitchell, Lyle Lovett, K.D. Lang

Similar Artists Paul Simon, Dave Mathews, James Taylor, Harry Chapin

Artist History Hall, whose classical training and hard-to-pin-down style sets him apart from many pop music writers, appeals to a wide and diverse audience. In 1997, unknown outside of New York City, where he had been playing the downtown club scene for a couple of years, Hall released his debut recording Playin' The Man. Tentatively pitched to college radio and industry press, the folk-rocking account of his own coming of age ended up charting on indie stations around the country and garnering unanimously positive reviews. Billboard wrote "Hall brings an intelligent and empathetic lyrical perspective to his material, without sacrificing the need for a concise, pop-friendly melody." Songs like "Do You Remember?", a rollicking recollection of high school angst, and "Zoë & Chloe," a tragic account of the murder of a backwoods Lesbian couple introduced Hall as a sensitive and powerful songwriter. His elegant stories of everyday life and universal human struggles seemed to strike a chord with everyone from college students, through thirty-somethings and beyond. Hall followed Playin' The Man in 1999 with Places, a journey through various locales, real and imagined, that have affected his life in some way. Ranging from the serious through the silly, songs such as "Saugerties," "The Mayor of Dullsville" and "Biff and Tony's Wedding" further showcased Hall's engaging and literate style. Critics received Places even more warmly than they did Hall's debut. The New York Times in its review described Hall as an artist "with considerable lyrical clout" and the College Music Journal called him "one of the best unsigned folk-poppers out there." Places was heard on radio throughout the U.S. and "Biff and Tony's Wedding" turned out to be a surprise hit. And the borough of Brooklyn, New York has unofficially adopted Hall's "Come to Brooklyn" as its anthem. Now, a slightly older and somewhat wiser Dave Hall brings us True. The new record opens with a trilogy of songs that explore the issue of mortality. It begins, intriguingly, with the J. S. Bach cantata "Sheep May Safely Graze," over which Hall has written a counter melody and lyrics. Hall calls the piece "Across Tiberius", and plays it on four separate single-line guitar tracks, rather in the mode of a string quartet. The second track is the album's title track, which Hall wrote upon hearing the news of the death of a friend. Where the Bach soars, True sears, presenting the anguish Hall felt at the loss. The third song of the trilogy is "Now I Watch My Blood Turn White" in which Hall confronts his own mortality. After a short and somber string interlude, the tone of the record lightens, and we're treated to a set of songs that celebrate life. The ethereal "Dizziness and Dreams", the wistful and nostalgic "Remember Summer", the wry "Garden Party", the touching "You" and the humorous "God Is Wide" all provide a knowing look at various stages and situations in life. Sometimes sad, sometimes funny, always poetic, this section features some of Hall's strongest poetry to date. After another string interlude, we are treated to a closing trilogy that mirrors the opening one. But this time the songwriter is able to see death through wiser eyes. First, in "His Was," the death of the friend is viewed somewhat differently - still with regret, but also now with peace. This song is followed by the folk song "Black is the Color," which is in turn followed by an instrumental version of the opening Bach, bringing the recording to a quiet close.

Instruments Guitar, Keyboards

Albums True (2000), Places (1999), Playin' The Man (1997)

Press Reviews "One of the best unsigned folk-poppers out there" College Music Journal / "Hall brings an intelligent and empathetic lyrical perspective to his material." Billboard / "He's an artist of the first water, penning sharp, classy, intelligent tunes and singing and performing them with grace and grit" Woodstock Times / "…poet, guitarist, singer, prophet…Hall haunts you into listening to his songs - alternately jovial and thickly dark, always multi-layered…" Albuquerque Alibi

Location Brooklyn, NY - USA

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