Kim Taylor Booking Info

Kim Taylor booking

"The next great troubador." - Paste Magazine

"The revelatory ambiguous title of 'Love's A Dog' (released October 8, 2013) from Kim Taylor is a knowing indicator of the intelligent, socially-aware and razor-sharp songs that make up the acclaimed Cincinnati-based songwriter's fifth album in just over a decade. Working once again with studio partner and multi-instrumentalist Jimi Zhivago, Taylor's first collection of songs since 2010's excellent 'Little Miracle' is an extension of the rootsy folk and dark pop melodies that have defined her recorded works and mesmerizing, intimate live performances. The husky, mournful vocals. The rich, organic instrumental backing. The sweetly turned melodies that easily veer into haunting balladry (the graceful melancholia of 'Bleeding Heart') and whip-smart and edgy indie pop (the gently funky, early-Tom Waits-ian title track)." - Direct Current Music

"Matt Porterfield's third feature, 'I Used to Be Darker,' differs from the relatively discursive performances and explicit narratives of his first two features, 'Hamilton' and 'Putty Hill,' and yet it's also very much in the same vein, with several cinematic twists that are not only an extension but a deepening of his methods and moods. This new film is something of a musical melodrama. The couple at its core, Kim and Bill (Kim Taylor and Ned Oldham) are musicians; she's a struggling professional with a band that gigs locally in Baltimore, he has given up the fight and gone into business without giving up his dreams, and, as the movie begins, they're breaking up, just as their teen-age niece Taryn (Deragh Campbell), leaves her summer job at the beach and, learning she's pregnant, drops in on them in quest of a temporary haven. Their own college-age daughter, Abby (Hannah Gross), returns home, too, but blames Kim for moving out, and struggles with her own frustrated ambitions. As in Porterfield's earlier films, his characters are rooted in a clear sense of place; the landscape is itself a character. His images here have less of a bravura aesthetic virtuosity and more of a connection to his characters, but no undue or directorially invasive proximity. Though the movie is scripted and the story is constructed (Porterfield's co-screenwriter is Amy Belk), he never gives the sense of doling out the details of a story that he knows, but, rather, of finding it out as it goes along -- and the exquisitely tenuous fragility of his inquisitive but respectful distance from his characters bears it out. The many scenes of musical performance, especially a few done in tensely thoughtful long takes, are reminiscent of Pedro Costa's films (such as 'Ne Change Rien'). Porterfield joins his characters in making sense of their lives with their art." - The New Yorker, January 2013

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Agent Larry Webman

Exclusive Booking Agency for Kim Taylor: Worldwide except Europe