She’s toured with the likes of Sara Bareilles and Kishi Bashi collaborated with Esperanza Spalding, Gillian Welch, Blake Mills and Ben Folds scored, with Paul Brill, a variety of international award-winning documentaries including Trapped, a Peabody winner and won the 2015 Independent Music Award for Songwriting, Folk category. I can’t wait to shake your hands and meet my fellow music lovers and new family members.Elizabeth & the Catapult official site | Elizabeth & the Catapult on Twitter | Elizabeth & the Catapult on Instagram | Elizabeth & the Catapult on FaceebookĮlizabeth Ziman, who performs as Elizabeth and the Catapult, is a critically acclaimed singer/songwriter from New York, living and working in Brooklyn. We’ll finally meet- October 12 & 13 at the Bowery Electric- and we’ll have Elizabeth & the Catapult, along with all our other brilliant acts, in the Underwater Sunmarine with us. ![]() We don’t have to hold our breaths anymore, friends. I can crash into the waves let them roll over meĪnd the world looks so much better in sapphire green I can hold my breath longer than I ever believed I can take the dreaming like a fish in the seaĪnd the world looks so much better and sapphire green So I’ll let Elizabeth Ziman end this blog post with lyrics from “Underwater” instead of pontificating more about how excited I am:Īnd I’m not afraid of sleeping like I used to be ![]() ![]() But this is one of those kismet coincidences that proves even further to me that not only do we have some beautiful things to look forward to with Elizabeth & the Catapult, it seems like a blessing over the whole festival. I think it’s especially fitting that one of the singles off the 2017 release Keepsake is called “Underwater”- it’s sort of apropos, don’t you think, that we’d end this particular essay talking about a song- an upbeat, cheerful song- with the idea of being underwater? If you’re not finding joy and delight in that discovery, well… you’re not me. She has an incredible cinematic scope in many songs, including her most recent single release, “New Beginnings.” I love not just the way the song sounds and feels, but that core: the idea that life is worthwhile, even when you’re not sure why. And why wouldn’t it be beautiful? It is a season of life, after all, and Ziman seems to understand that all seasons are lovely in their own way. The children’s choir and brass add a cinematic and innocent quality to a song that is looking directly at some of the harder parts of life- death, caretaking, drugs, doctor’s bills- and makes it something beautiful. The mother says, “May you never take for granted all that you are/ And I may be passing, but you’re still my champions/ We have to live every day, every day, like it’s the best day of our lives.” And though they admit they’re dodging doctor’s calls and that there are tons of problems- they’ve got the “same roof” over their heads, and the refrain constantly reminds the listener that even Ambrosia as, an almost certainly tired, caretaker, finds herself at peace and enjoying her life. We know things are bad, and we know things about the whole family: ![]() With “Ambrosia,” Ziman introduces us to a character of the same name who takes care of her mom: “I won’t go to bed/ Til I know that she’s all right/ Pancakes for breakfast/ Ice cream for dinner/ She says to live every day like it’s the last days of our lives.” The song is lovely and lilting, but there are percussive elements throughout underscoring the major key: even the stringed instruments and the opening vocals are percussive, almost in a heartbeat rhythm. Harris” ( Whatever, 1993) or “I Can’t Get My Head Around It” ( The Forgotten Arm, 2005). It reminds me of some of Aimee Mann’s persona pieces, especially songs like “Mr. I’m always immediately drawn to persona pieces, and Ziman has written a brilliant one in “Ambrosia,” a song I can’t get out of my head, nor do I really care to.
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