Piney Gir

Piney Gir


Only Piney Gir combines delicate sci-fi folk & straight to the bop pop with campfire narrative; this is Piney’s most dazzling lineup. Featuring the yearning of a vintage country record, a dose of heartbreak-on-the-road, singing saws & singing ladies, she fuses German electronica & warm 70s FM radio


Born in the middle of a big Kansas thunderstorm, Piney is a breath of fresh air…
An isolated childhood lead to vivid imagination where fireflies were flying saucers and Kool Aid was a witch’s brew. With hair in bunches like Princess Lea… Piney played Sleeping Beauty, which involved sleep-waiting for her prince to come (but he never did).
Piney’s longhaired, paisley-skirt-wearing aunt lived over the road and started giving Piney music lessons at the young age of 4. ‘Volga Boatman’ was the first song Piney ever learned to play but it was only the beginning.
Sheltered from secular culture until 1989, Piney grew up immersed in the church (a happy-clappy, Pentecostal-charismatic church to be precise) and it was here that she developed a strong sense of melody and discovered harmonies. Gospel singing, bluegrass harmonies, speaking in tongues, dancing in the isles… church represented music as an experience; music as a dramatic way of expression and she went to church 3 or 4 times a week. Her conversations with God involved tic-tack-toe, playing on the elevator and learning how to clap on the offbeat. The first real song she wrote was called ‘Blessings’ and was reminiscent of the Bach she studied on the piano but it incorporated modern gospel techniques in the vocal line and these cross-pollinations are still evident in her work today.
Post 1989 all hell broke loose and Piney embraced every imaginable phase: from punk rock, hip hop, country, hippy, ravey, goth, lounge & big band, the 50’s, the 80’s, heavy metal, folk, glam, mod, j-pop… you name it, she tried it! She was never able to settle on just one genre and adopted the style of each phase with gusto and imagination. Armed with Grandma’s closet and a fancy dress box full of thrift store clothes she was never one to blend in with the crowd.
Eventually ending up in London, England (where she now resides), Piney soaked up new music like a sponge and her influences are so vast that it’s hard to pinpoint what they are but that is what brings a refreshing element to Piney Gir’s music. Utterly original, relying wildly on melody and the craft of true song writing, The Yearling is her 3rd album and is her most mature and accomplished offering to date. Layers of lush Morricone-esque strings, a gospel choir, singing saw, woodwinds, straight to the bop pop, a harp, a Theremin, a cat named Halo, warm 1970’s FM radio, a bus driver, faux shipping forecasts, bossa nova jazz, Roy Rogers’ vocal stylings, a Bad Seed’s bike, witching hour spells, vocal crooning of Eamon Hamilton from Brakes, lions and tigers and bears, these are a few of my favourite things… it’s all magical parts of the story of Piney Gir.


The Yearling - 2009
Hold Yer Horses - 2006
Peakahokahoo - 2004

For The Love Of Others - 2009
Say I'm Sorry - 2009
Of All The Wonderful Things - 2009
Greetings, Salutations, Goodbye 2007
Great Divide 2006
I Don't Know Why I Feel Like Cryin' But I Do 2006
Creature 2005
Janet Schmanet 2004

Piney has done sessions on all major BBC channels (Radio 1, Radio 2 & BBC 6 Music), Piney has also done sessions for XFM, This Is Fake DIY, Balcony TV (where she was named Best Female Artist 2009). Piney has also appeared on Bestival TV and Truck TV both music festival programmes on Channel 4 (British National Television), her music is available for streaming on Spotify & Last FM.

Set List

Sets are usually about 30-45 minutes long, here's a list of songs.

1. Early Days
2. Great Divide
3. Blithe Spirit
4. Miss Havisham
5. Lucky Me
6. Abelha: Bumblebee
7. Weeping Machine
8. Not Your Anything
9. Of All The Wonderful Things
10. Say I'm Sorry
11. For The Love Of Others
12. Greetings, Salutations, Goodbye