Marc Hirsh
Marc Hirsh lives in the Boston area, where he indulges in the magic trinity of improv comedy, competitive adult four square and music journalism. He has won trophies for one of these, but refuses to say which.
He writes for the Boston Globe and has also been spotted on MSNBC and in the pages of Amplifier, the Nashville Scene, the Baltimore City Paper and Space City Rock, where he is the co-publisher and managing editor.
He once danced onstage with The Flaming Lips while dressed as a giant frog. It was very warm.
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Marc Hirsh argues that the Best New Artist award, the kids' table of the Grammys, ought to go the way of the dodo bird, for everyone's sake and everyone's sanity. -
While her band rages in "Transformer," Woodroofe faces the object of her devotion without blinking. -
Buckingham's lush, chiming "End of Time" opens with an inquisition into the infinite. -
Viva Elvis' reinvention of a familiar hit is shockingly great, but also fundamentally true to the original. -
Holly's 1958 song "Peggy Sue Got Married" is so richly evocative, it took 57-year-old John Doe to get at the core of it. -
In which Josh Groban reminds our writer that we should try to remember that performers are performers and audiences are audiences and maybe there's a line between the two -
"Living Without You" could have been performed by the likes of the dB's or the Nerves three decades ago. -
As easy as it's been to characterize Eisley's music by the shimmering, looking-glass elements that effervesce on the surface, there's always a muscularity lurking just beneath. In "The Valley," Eisley opens a door and lets a hidden world swing into view. -
Thee Sgt. Major III's exuberant "New Painter Man" blends giddy girlishness with a hard guitar crunch. It's exuberant without being sappy or simplistic, thanks in part to the spirited guitar work of The Fastbacks' Kurt Bloch. -
He may seem tentative in "Pieces," but Villagers' Conor O'Brien knows exactly what he's doing. It's not a linear climb to the howling orchestral sweep at the end of the song, but a constant renegotiation of how much to give away.
