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Molly Maher & her Disbelievers / Press

“Maher's third record is more a showcase for her bandmates and the chemistry they've developed at Nye's. Standout tracks include the almost rap-like, organ-pumped romp "Free to Go" and the shaken-and-baked rocker "Chicken, No Bone," while Maher still shows off a softer, more songwriterly side in "Cry Baby" and a few others.”

“...Merry Come Up is so solid it hurts; the progression, the pacing, and the playing are so paramount...solid legs of music that is crafted on the dust of tradition--steel guitar, smooth songwriting, and easy rhythms that beckon your instinct. Her latest album, Merry Come Up, is an example in that style, with biting songs like "Chicken, No Bone" that embody the effortless soul of a night at Nye's.”

“If it is possible for a band to own a town then Molly Maher and her band of Disbelievers have to be about as close as it gets to holding the keys. Molly has been the reigning queen of the Twin Cities scene. Aside from being an incomparable singer and songwriter with compelling depth and soul and cutting some tremendously engaging cd’s she has shared the stage with some of the best acts in the country. Among them, Los Lobos, And then there is the Disbelievers : Guitarist Erik Koskinen is a force to be reckoned with as a singer and songwriter. Paul Bergen, whose guitar playing has to be seen to be believed, Noah Levy on drums who is better off being Googled because his resume is just too long to be printed and Frankie Lee on bass who is a master of subtlty and understatement and like his band mates a formidible songwriter and singer. You will not see more talent performing more tightly on any stage anywhere. ”

Thom Middlebrook - from the mind of Thom

“Maher steps out from the pack of Americana/alt-country songwriters With this month's release of her second record, "Balms of Gilead," Maher steps out from the pack of Americana/alt-country songwriters in the Twin Cities. Never mind that she already stood out by being a woman with a previously all-male band in a mostly male-dominated genre. As the album title suggests, "Balms" is awash in healing-powered songs and desert-y soundscapes. Lucinda Williams is the most obvious comparison it deserves, especially with wounded-poet songs such as "Let's Pretend We Never Have Met." But the disc's many different moods also show traces of Daniel Lanois-produced Bob Dylan and the Latin-ish acoustic work of Calexico and Los Lobos. Like Bonnie Raitt, Maher clearly can play guitar but seems more focused on being a singer/songwriter. ”

Chris Riemenchneider - Star and Tribune