May 21, 2018 theaterstü Gog/Magog 4

‘Perhaps the show’s biggest successes are Brandon Miller’s musical interludes, seamlessly interwoven in the text of the play and housed by its framing as a religious ritual. Miller’s music is quintessential American storytelling with an extra dose of nostalgia, and here the lyrics seem to jump off the page as remembrances of a peaceful time of hope, love, and potential happiness. These function dramaturgically as a counterpoint to the dark content of the streams, and in doing so lend the music an additional resonance borne of dystopian context.’

‘Postfaktische Allianzen werden offengelegt, die Selbstinszenierung als Opfer auf allen Seiten in Wort und Bild präsentiert, und bevor der Zuschauer ein Kontextschleudertrauma hat, tritt wieder Brandon Miller mit seiner Gitarre auf und schwingt sich in seinen Liedern auf beruhigend metaphorische Ebenen. Seine Poesie ist weise-tröstend, was als ästhetische Aussage ja auch schon wieder seine Untiefen hat.’   Dez. 2017

‘Post-Fascist alliances are revealed, self-portrayal is sacrificed on both sides in words and pictures, and before the viewer has a contextual whirlwind, Brandon Miller returns with his guitar and swings in his songs to soothing metaphorical levels. His poetry is wise comforting, which, as an aesthetic statement, has its shoals again. ‘  Dec. 2017

TAZ Interview 2011 

Irgendwo-Nirgendwo-Review (German) of live show at Olo Bianco Festival Magdeburg, October, 2014

FOCUS.DE Review of ‘Everyone Here Seems So Familiar’ Review of ‘Everyone Here Seems So Familiar’ 

Supporting (Grammy Nominee) John Fullbright at Folk Club in Turin, Italy

Whiskey-Soda Review of show at Postbahnhof, Berlin supporting William Elliott Whitmore

Review of Show with Hawk and a Hacksaw