Originally a singer/songwriter from St. Louis, MO, Lizzie Weber released her debut full-length album in January 2014. Lizzie’s roots in St. Louis have a lot to do with a woman so grounded. “I feel as though growing up in St. Louis allowed me to develop strong values and a strong sense of self, a kind of self-awareness that sort of catapulted me into writing very personal and emotionally charged music.”
Lizzie is, indeed steeped in music, like her hometown. Her debut was well received by the public. Huffington Post dubbed her single “Falling Like Fools” ‘your new favorite song about heartbreak,’ while the music video for the track has been an official selection at seven international film festivals around the world and won awards at two of them. Most recently, it was selected out of 2,000 submissions to screen at the Reel Teal Film Festival, where it won "Best Music Video of 2016." No Depression called her debut “a confessional record, but one that is very well-handled, never straying into the over-dramatic, but instead honing in on a sound which is personal, powerful, and, at times, perfect.”
Following the success of her debut, Lizzie appeared on the cover of the Riverfront Times in January of 2015, and was interviewed for Arts America on PBS. She has performed with such acclaimed songwriters as Academy Award-winner Marketa Irglova (the Swell Season/Once), John Gorka, Crystal Bowersox, and Tiny Ruins.
In fall of 2015, Lizzie produced a rendition of Nirvana’s “Heart-Shaped Box,” released on iTunes November 30. On April 26th of this year, she released a single called “Love Again” produced by Grammy-award winner Sheldon Gomberg. She is currently preparing to record her sophomore album.
Purchase the debut album
OFFICIAL MUSIC VIDEO
FALLING LIKE FOOLS
OFFICIAL MUSIC VIDEO
Live at Benaroya hall
making the debut
NO HARBOR - LIVE AT THE UNKNOWN RECORDING STUDIO
raptor - live AT SHERPA studioS
In 2015, Lizzie was commissioned to write the title track for the documentary feature Caffeinated.
- Atwood Magazine premiered the official music video for "Love Again."
- Toronto-based music blog Exclaim! recently premiered the release of Lizzie's single "Love Again."
- Featured on the front page of the Riverfront Times as one of six artists to watch in 2015. (Jan. 8, 2015)
- "Lizzie Weber's 'Falling Like Fools' Is Your New Favorite Song About HeartBreak... Fans of the soundtracks to "Once" and "The Fault In Our Stars" will want to check out Lizzie Weber's "Falling Like Fools" - Christopher Rosen, Huffington Post
- St. Louis Magazine premiered Lizzie's live performance of "Raptor" at Sherpa Studios in St. Louis, MO.
- Nominated by St. Louis's Riverfront Times as Best Singer/songwriter of 2014 and again in 2015.
- Named "Your favorite artist of 2014" in the February 2014 issue of Eleven Magazine!
- "... I was floored hearing its hard-earned wisdom offered boldly through breathtaking vocals. The record rises and falls through vibrant landscapes: lushly orchestral here, acoustically raw there. It’s like listening to Idina Menzel in Laurel Canyon – or, less whimsically, like sitting quietly in a plush red seat, completely entranced by an artist’s passion." - Kyle Kapper, Eleven Magazine [See the full article here.
- "...Her voice is haunting and fine, slightly hypnotic over solo piano or finger-picked guitar, not cutesy or twee and certainly not overpowering, but strong and steady, a guiding presence." -Paul Schomer, former NPR music producer
- "Lizzie Weber is a confessional record, but one that is very well-handled, never straying into the over-dramatic, but instead honing in on a sound which is personal, powerful, and, at times, perfect." - Gideon Thomas, No Depression. Full review below.
Album Review from No Depression:
Lizzie Weber's debut self-titled album demonstrates the strength and passion of both her songwriting and her voice. Lizzie hails from St Louis, a city with strong musical roots, and Lizzie's own background in folk and acoustic music has influenced her own transition into a professional musician.
Whilst it may be easy to find touching points (Beth Orton, Norah Jones), Lizzie's style and delivery is very much her own, and her influences are felt, but not too heavily relied upon. The rasping guitar intro of California drops straight into the lilting arrangement, and Lizzie's voice comes front and centre, never really leaving your attention throughout the whole record. For the entire course of the album, her vocals are concentrated at the centre of often lush arrangements, often flowing in and out of the music which accompanies them.
Both Lighthouse, and the entire album, is more beguiling than is perhaps immediately obvious – sure, the voice is what stands out, but the songs on the record creep up on you, with their sympathetic arrangements and accompaniments. Safe Distance is set back, sweeping and removed, revealing the intimacy in the isolated and simple vocals. The feeling is one of loneliness mixed with hope, on a song which is soft and deliberately put together, but shows a strength which unites the entire collection.
This Time Around has an understatedly epic intro, with lifting strings drawing you into the song and the story. The performer is faithful to the songs on Lizzie Weber, putting effort in and getting good results out, with a serious tone, but one which is not overdone. The beautiful and slightly more rootsy Catastrophe revolves around an effective saxophone line and shuffling drums, which Lizzie's voice effortlessly floats over.
The album is full of intimate settings, which allow not only the singer, but also the songs themselves to communicate directly with the listener. Weber's voice brings to mind Kate Bush and Taylor Swift (although not at the same time), and the work is emotional, gutsy, direct, and effecting, if slightly one-dimensional in that it does tend to stick at one tempo a lot of the time (an exception being the pacier, Latin twist of Sorry Days), but as a collection it hangs together, and works together well.
Lizzie Weber is a confessional record, but one that is very well-handled, never straying into the over-dramatic, but instead homing in on a sound which is personal, powerful, and, at times, perfect.