Peter Oyloe

Press Mentions


“Peter’s charm, wit and talent carry the show very effectively. Our audience responded with genuine and passionate enthusiasm… Peter is a true artist, focused on his performance and relates to the audience in a remarkably personal manner. His voice is clear and strong, with character, and his presence is palpable. He is a performer in the best sense of the word. We recommend him very highly.”
-Chris Blake (Executive Director Music Niagara Festival)

“Though he is a star on the rise, he already has the sound of a well-seasoned folk singer.”

“Everything about Peter is soulful and singular,” Salamone states. “His musical spectrum feels limitless because his emotions run deep, his connections so strong and pure. His work is a bit hard to describe because he truly is one-of-a-kind. Hmmmm. If Johnny Depp and Cat Stevens had a son and James Taylor was his baby-sitter, maybe THAT would be Peter Oyloe.”
-Tina Salmone – Executive Director Blooming Performing Arts Center

“…played to perfection by Peter Oyloe.”
-Hedy Weiss – Chicago Sun Times



“But Oyloe and Wendt are the show’s irresistible center, and for different reasons. For Oyloe, it’s through craft. He’s so comfortable inside Williams’ cowboy boots that his performance will undoubtedly become the way many imagine the late singer, who died just before TV made Elvis’ hips and The Beatles’ bopping hair a visual cultural touchstone.”

“flawless in his performance…watching him (Peter Oyloe) made you feel as if Hank was truly there on the stage in front of your very eyes.”
-Behind the Curtian Cincinnati

“Peter Oyloe, whose knockout interpretation of Hank Williams is about as good as it gets… captures the vitality and vulnerability of a young entertainer who was not quite ready for the rigors of stardom, but he’s also solid at replicating the Hank Williams style, right down to those classic yodels. Even for Yankee theatergoers at Owasco Lake, hillbilly music never sounded this authentic.”
-Syracuse New Times

“But the show, as it should, belongs to Peter Oyloe. He’s as comfortable in the singer’s persona as he is in his brown cowboy boots. He’s got the musician’s lankiness and mannerisms and, most importantly, the voice to handle a concert slate of songs.”
Knoxville News Sentinel

“…all masterfully performed by the amazing talent that is actor and singer Peter Oyloe. Oyloe embodies every aspect of the man Williams was, including the dark moments of the life and career that ended far too soon.”
-Phil Potempa (NWI Times)

“…anchored by a beautifully-wrought, dazzling star performance from Peter Oyloe, who I consider to be one of Chicago’s most interesting and talented young actors. Oyloe submerges himself in Hank Williams, and nicely calibrates the insecure boy within the musical superstar grappling with demons. And he sings marvelously and generously… clearly communicating the singer’s passion and commitment to the emotions both conjured by and contained in his music.”
-Francis Sadec (From the Ledge)

“Oyloe captures the lost man-child at the heart of “Lost Highway.” Oh, and he can sing the hell out of the material. He’s quite simply the best reason to see this show… Oyloe’s performance in this “Lost Highway” is pure classic Cadillac.”
-Chicago Tribune

“Peter Oyloe fills his [Hank] boots completely, conveying both the womanizing wiles and the paranoid chills that defined this complex crooner. Every one of these two dozen numbers is a winner…”
-Chicago Stage Style

“The show hinges on Peter Oyloe who plays Hank Williams. Oyloe doesn’t disappoint. He gives an amazingly truthful tour de force performance. Peter Oyloe demonstrates his vocal range as he channels Hank Willimas’ style, twang and yodel included. His strong voice contains all the angst and heartfelt emotion that Williams’ songs contained. From the early gospel song “Thank God,” we hear a powerful voice at work.”
-Chicago Critic

“This is also Peter Oyloe’s star-turning inhabitation (not an imitation) of the legend, bringing each number to life with the help of an Opry-worthy band of cowboys… Able to yodel and warble with the best of the troubled troubadours, Oyloe’s heartbreaking renditions of the classics “I’m So Lonesome I Could” and “Your Cheatin’ Heart” to the toe-tappers “Jamalaya” and “I Saw the Light” are brimming with the true grit of authenticity this role demands.”
-Chicago Theater Beat

“…As Williams, Peter Oyloe brings the entire package: he can sing, he can play, and he can act… With his trusty band at his side, Oyloe reels off song after song straight to the audience, with all the quiet swagger of a real rock and roller.”
-Centerstage Chicago

“Many Chicago audience members have been lucky enough to see Peter Oyloe and I must tell you that this young man takes on the persona of Hank Williams, yet doesn’t try to imitate him in any way. So strong is his interpretation of the man, you forget that he is an actor playing a role, but rather feel that you are in a time machine that has taken you back to where you can watch the events of his growth in the industry and how he destroyed himself every chance he had.”
-Around the Town Chicago

“As Williams, Peter Oyloe sings like gangbusters.”
-Time Out Chicago



“A smart, meticulous cast play most everything tight to the vest, making for a taut, absorbing evening. Peter Oyloe’s performance as Katurian’s mentally impaired brother is the show’s heartbreaking highlight.”
-Justin Hayford, Chicago Reader

“But it’s Peter Oyloe, one of the most promising young actors working in Chicago theater currently, as Michal, Katurian’s mentally-impaired brother who admits to committing the murders, admittedly the showiest role in the play (which Shannon, garnering a Jeff nomination, magnificently played in the Steppenwolf production), who leaves the most indelible mark. It’s a pretty tricky role to play, since the character’s admitted actions are repellent, but he is mentally-disturbed, and he performed the actions mostly because of the impact that his brother’s stories has had on him. It’s the undeniable influence of the master storyteller (which is harnessed daily in politics, in mass media, in arts and culture) – he or she can move ordinary mortals to believe in, and sometimes do, extraordinary things, for better or for worse. Oyloe, through delicately-calibrated emotional responses, makes us care for and identify with Michal, which makes how he eventually ends up, shattering. I think it’s a much more physically-detailed performance than Shannon’s as well, with Oyloe’s fingers and limbs looking like they’re slightly bent and deformed, Elephant Man-like, the probable effect of seven years of violence at the hands of his and Katurian’s parents. …It’s definitely one of the best Chicago productions for 2009.”
-Francis Sadac, From the Ledge

“Exhilarating still is standout Peter Oyloe’s portrayal of Michal, Katurian’s mentally handicapped brother and, arguably, the play’s most challenging role. Oyloe’s nuances inside such a complex character is thrilling, proving the kind of dedication Chicago store fonts’ have in finding the best of the best. His and Jessop’s scene in Michal’s cell beautifully runs the gambit of unnerving to heartbreaking. Redtwist’s THE PILLOWMAN is Chicago theatre at its finest.”
-William Panek, Broadway World

“Peter Oyloe is equally tragic and hysterical as the brother Michal, riding the line between allowing us to sympathize and laugh at and laugh with his child-man reminiscent of Lenny in Of Mice and Men with a fixation on his brother’s stories rather than rabbits. This is a must-see show. It’s a nearly perfect Off Loop storefront experience and demonstrates how good the tiny spaces in Chicago can be if the time is taken to find an extraordinary script and a fabulous cast…”
-Don Hall, An Angry White Guy in Chicago

“Playing a mentally deficient character can be daunting, and done poorly it can be unbearable to watch. But Peter Oyloe did a fantastic job as Michal, with a touching and frightening performance.”
-William Henry, Live Journal

“Peter Oyloe movingly plays the mentally challenged brother Michal. He keeps Michal real by recognizing his lack of cognitive ability without overplaying his handicap. …Senior and her staff have produced the best storefront show running in Chicago.”
-Tim Maguire, My Theatre Club

“…Katurian and his brother Michal (Peter Oyloe in another amazing character study)… For most of the scenes, you will find yourself on the edge of your seat watching the way that these actors develop the characters written by McDonagh. The relationship between the brothers is very realistic and there is a chemistry between Oyloe and Jessop that makes you feel that they are in fact brothers. This is not normal Holiday fare but is quality theater that deserves to be seen. Redtwist has been earning their stripes so to speak, as one of the premier storefront theaters in Chicago and this production is worthy of more Jeff nominations.”
-Al Breslof, Steadstyle Chicago

“Under talented director Kimberly Senior and sporting a top list of actors, Redtwist Theatre’s production of Martin McDonagh’s The Pillowman becomes one of the finest, most intense black comedies to appear on a storefront stage in many years. …Once we meet Katurian’s simple-minded brother Michal (Peter Oyloe in a winningly eerie performance) we experience how effective stories can influence behavior. Peter Oyloe was terrific as the simple-minded brother who was most affected by his brother’s writings. Oyloe and Jessop had powerful chemistry. Oyloe cherishes playing misfits. The Redtwist Theatre production is riveting, shocking and thrilling. Tom Hickey, Peter Oyloe and Andrew Jessop, were outstanding. The Pillowman proves that Chicago storefront theatre is red hot!”
-Tom Williams, Chicago Critic

“Peter Oyloe shows painful vulnerability as Michal, Katurian’s child-like brother…”
-Lisa Buscani, NewCity

“Kimberly Senior’s unforgettable production of “The Pillowman” for Redtwist Theatre, which opened over the weekend and nails what far too few off-Loop theater companies (and their directors) are willing to go after. I’m speaking of intimacy that nearly goes too far. …the ensemble is up to the task and then some. It’s a rip-roaring experience, and one that I think McDonagh would appreciate quite a lot…”
-Nina Metz, Chicago Tribune

“…the strong ensemble cast inflects the production with liveliness, adding sparkles of wit to the tense cat-and-mouse game of interrogation”
-Lisa Kolb, Center Stage

“McDonagh’s play, like one of Katurian’s proudest creations, is a puzzle without a solution: a cerebral, uncomfortably funny examination of storytelling and its uses that, unlike Grimm tales, provides no moral or cautionary lesson. Senior’s well-acted production doesn’t try to impose one. They tell a good, harrowing tale, and they tell it well.”
-Kris Vire, Time Out
“Two policemen, Tom Hickey as the “good cop” and Johnny Garcia as the “bad cop,” are dead set on pressuring Katurian and his highly impressionable younger brother (Peter Oyloe, doing quite well with a very difficult role) to admit their guilt. ”
-Robert Bullen, EDGE Entertainment

“But it’s Peter Oyloe who really steals the show as the mentally impaired Michal. He’s only in two scenes, but in his extended sequence with Jessop he makes Michal into a fully dimensional, sympathetic character.”
-G1000, Review
“As Michael, probably the show’s most challenging role, Peter Oyloe resembles James Franco and turns in an astonishing performance. Both of these actors are worth keeping an eye on. If you’ve never seen The Pillowman, you’re missing out. Redtwist’s production is excellent, and I’d go see it again.”
-The Scoop, Review

“The performances are uniformly strong and the remainder of this inventive and visceral production drips with authenticity and tension.”
-Chris Jones, The Chicago Tribune



“The all-consuming passion of Fish and Cherry is juxtaposed with the clear-eyed and sometimes sorrowful love of Fish’s younger brother and “cut man,” Duffy (Peter Oyloe), and his infertile but nurturing wife, Bug (Jessica London-Shields)….Oyloe and London-Shields deliver carefully calibrated and thoughtful performances.”
-Kerry Reid, Chicago Tribune

“Peter Oyloe brings a gentle dignity to Duffy, Fish’s brother, who has mastered the serenity needed to survive.”
-Lisa Buscani, Newcity Stage

“[Fish’s] brother Duffy (Peter Oyloe in another fully developed performance) is his fight manager and loyal friend who tries to keep Fish from exploding his way back to prison. Director Lavina Jadhwani has a fast-paced and emotionally intense drama that quickly engages us and holds us throughout. This is worthy storefront theatre featuring four excellent performances proving, once again, that wonderful theatre is often found on little stages. Highly Recommended.”
-Tom Williams, Chicago Critic

“Cherry Smoke is the theatrical equivalent of a good punch in the gut. Now in a smoldering Midwest Premiere by the tiny and adventurous Side Project Theatre, this equally lyrical and profane love poem is both bleak and heart-rending… Peter Oyloe and Jessica London-Shields both bring enormous sensitivity to their characters of Duffy and Bug, respectively.”
-Joe Stead, Stage Style Chicago

“Set in a poor steel town somewhere in America, Cherry Smoke takes us on a ride that has many ups and downs as we see that Fish and his younger brother Duffy (another super character portrayal by young Peter Oyloe) are left to their own defenses.”
-Al Bresloff, Around the Town Chicago




“Peter Oyloe totally inhabits the role of the Phantom. His glorious voice simply soars to great heights with passion and then, just as suddenly, quietly whispers the pain and loneliness buried within this tragic hero. He breaks our hearts… Together (Peter Oyloe and Lara Filip) they work some kind of magic on that tiny Theatre Building stage.”
-Colin Douglas, Center Stage

“Peter Oyloe, who burst onto the Chicago scene a few months ago as the untalkative Alan Strang in Equus, shows us that he can not only talk, he can sing- in a booming yet controlled baritone/tenor.”
-John Olson, Talking Broadway

“The charismatic Peter Oyloe (who recently received the Jeff Award for Best Actor for his work in “Equus”) has a rich, powerful voice as well as and emotional presence that easily transcends his mask-obscured face.”
-Hedy Weiss, Sun Times

“Vocally, Peter Oyloe’s velvety voiced Phantom oozes with charisma and sex appeal. His rich baritone/tenor brings a nice texture to his solos and pairings with the lovely Lara Filip.”
-Tim Sauers, Gay Chicago Magazine

“Peter Oyloe stands out as a very moving Phantom; he often stops the show with his glorious voice, especially in songs such as “Paris is a Tomb,” “Where in the World” and “My Mother Bore Me.” “…the vocal performances are so outstanding that we want to close our eyes to block out anything that will get in the way of the delirious exaltation of what we are hearing.”
-Betty Mohr, Daily Southtown

“Phantom (a marvelous performance by Peter Oyloe, who has a tremendous vocal range, but more than range… we feel what he feels.)”
-Alan Bresloff, EpochTimes

“Peter Oyloe (the emotional and promising young actor who plays the Phantom).”
-Chris Jones, Chicago Tribune

“Ultimately Phantom demands a polished, charismatic lead. Peter Oyloe, a 2007 Jeff Citation Award recipient for Best Lead Actor in a Play for Equus, demonstrates his amazing vocal range as the Phantom. Oyloe combines his commanding stage presence with a warmly human vulnerability generating empathy, even sympathy as the tortured, half-mad genius. Oyloe conveys the Phantom’s obsessive yearning for beautiful music to give order and meaning to his life. His chemistry with Lara Filip’s Christine is authentic. From his anthem song “Where in the World,” Oyloe places his mark on the Phantom. His duet “Home” with Christine demonstrates their mutual love for music. The music lessons are deftly presented in the wonderful tune You Are Music. It soars as both Filip and Oyloe reach the heavens with that melodic song. In act two, Peter Oyloe combines his acting talent and his fine enunciation with the riveting and difficult character song “My Mother Bore Me” in which the Phantom emotionally sings his life story. Oyloe nails the song in a most moving and affective theatrical moment. We care and are saddened by the torture the Phantom suffers. Oyloe demonstrates his talent as a vocalist who understands how to convey
the heart of a lyric. Maury Yeston, who was present at the opening performance, called Peter Oyloe “a real find who’ll have a wonderful career.”
-Tom Williams,

“Peter Oyloe makes an ardent, contagiously charismatic fiend.”
-Lawrence Bommer, Chicago Reader

“a soulful portrayal by the aesthetically lean, emotionally connected and vocally satisfying Peter Oyloe… As the Phantom, Oyloe’s “Without Your Music” is an emotionally poignant showstopper.”
-Kathleen Tobin, The Beverly Review



“Peter Oyloe’s portrait of Alan Strang is beyond brave…Although Oyloe’s mesmerizing performance at AWT begins with his haunting stare, it mounts into a highly physicalized performance so honest that it leaves him both literally and figuratively naked.”
-Sarah Hollenbeck, Street Wise Vol. 15 No. 14

“Smoldering newcomer Peter Oyloe gives the boy (Alan) a solemn, sullenly seductive air that perfectly suits Shaffer’s theme…”
-Zac Thompson, Chicago Reader

“Oyloe in particular is a real find. In the wrong hands Alan could be a scenery chewing nightmare; Oyloe’s is often otherworldly, sometimes petulant, sympathetic and frustrating, but never over-the-top and never less than mesmerizing. The electricity between Oyloe and Parry is enough to make you sweat.”
-Kris Vire, Time Out Chicago

“…Peter Oyloe steps into the role, and he is a real find. (Incidentally, he resembles Radcliffe in type and temperament). The show is worth seeing for Oyloe’s performance alone, as a lanky and empathetic kid who is messed up in the head.”
-Nina Metz, Chicago Tribune

“A new star is born with Peter Oyloe’s spellbinding portrayal of Strang. The young actor, whom I haven’t seen on stage before, blazes with a spine-tingling intensity that one will long remember.”
-Betty Mohr, Daily Southtown

“Alan Strang (the remarkable Peter Oyloe, who’s intensity will shock and scare you. This is a young talent that we should see around town for many years to come)”
-Alan Bresloff, EpochTimes

“This journey of discovery rests on the shoulders of Peter Oyloe whose emotionally riveting and intensely truthful performance as Alan Strang was a tour de force on several levels. Oyloe richly conveys Alan’s pain and dissects the internal trauma with a most convincingly nuanced and chillingly honest performance. Oyloe proves that he is a major talent capable of reaching into himself to mine all the emotional pain Alan emotes. Oyloe’s stares, a key characteristic of Alan’s, sent chills down my spine. In the act one ending scene, where Alan gives glimpses into his soul in a most passionate demonstration of his traumatic confusion of religion, sexuality and psychological torment—Peter Oyloe reaches an astonishingly truthful and courageous level of intensity that leaves us shocked to our core. Passion does, indeed, rule here.”
-Tom Williams,


“Ritchey and her cast find many arresting moments that illustrate the pain and joy in Ruhl’s script. Oyloe nails the semi-narcissistic man-child qualities of Orpheus… raw and mysterious, but also intimate, inventive and inviting.”
-Kerry Reid, Chicago Tribune

“Filament Theatre’s production manages to make some of the play’s most striking and poignant moments utterly memorable…Peter Oyloe is appropriately aloof as an Elvis-type Orpheus, and his original music, along with Shannon Bengford, is stirring…”
-Neal Ryan Shaw, NewCity

“(Peter Oyloe) truly evokes grief at the loss of Eurydice, especially when coupled with the gorgeous symphony he “composes” while grieving. It’s touching in a very operatic way.”
-Ana Klimchynskaya, Chicago Maroon

“The original music by Peter Oyloe and Shannon Bengford (is) soaring, surprising, tantalizing… every actor on stage was nearly pitch-perfect, Oyloe plays Orpheus as the hopeless musician and wistful romantic who only realizes his faults once it’s too late.”
-Will Fink, Chicago Critic

“The doe-eyed Oyloe has wonderful focus with Orpheus’ unconditional loyalty to love and music. His naïve ambitions are committed to fully.”
-Chicago Theater Beat



“Mr. Oyloe is one of the best actors east of dangerous.”
-Michael Colucci, Artistic Director Redtwist Theatre


Peter Oyloe as the irate goth guy sticks in your head and it doesn’t surprise you to learn he has a Best Actor Jeff Citation.
-Adam Fendelman,

If you have not yet witnessed the talent of young Peter Oyloe (who won a Jeff Citation last year for “Equus” and did a remarkable job in Porchlight’s “Phantom”) you really should make it a point to see him perform. He is one of the most intense actors I have seen grace any Chicago stage.
-Al Bresloff, EpochTimes

Peter Oyloe’s strong vocal range deftly nails the angst and sadness of Caleb in the haunting “Renewed.” Peter Oyloe’s talents allow him to sing “My Song,” the riveting suicide number depicting Sue’s son’s death. Oyloe is wonderful with emotionally draining songs. His clarity and truthfulness are ringing.”
-Tom Williams,








“The acting is excellent, and the singing superb, with standouts being Peter Oyloe (as Marius) and Derek Metzger (Jean Valjean).”
-Denis Welch, New Zealand Listener








“Of particular notice are Jason Heymann as Veronica’s lover Marco and Peter Oyloe as the covetous Maffio.”

-Colin Douglas, Centerstage Chicago

“… and Peter Oyloe excel in major supporting roles.”
-Hedy Weiss, Chicago Sun Times

“Peter Oyloe is commanding as the cynical artist turned religious zealot. Oyloe’s Poetry Duel with Jenny Powers’ Veronica was a delightful combination of verbal flair and sword play, expertly performed. …and Peter Oyloe were terrific. The singing was first rate.”
-Tom Williams,


Peter Oyloe’s debut album, words & music, is precisely crafted, fueled by a captivating and rare talent. By his own words, Oyloe is “an old soul, raised on homegrown goats milk and thoughtful solitude, whose love of love and people is constant and strong.”

Perhaps it’s the well-tended, organic Iowa roots that have enabled Oyloe’s talents to far exceed most of his contemporaries. For an industry that has been heavily polluted with the mass marketed-whir of overproduced pop singers or the homogonous drone of the Indie scene (the title of which loses meaning daily as its forefront members become increasingly featured on MTV and mainstream radio), Oyloe’s arrival in the music world is a long awaited breath of fresh air.

Oyloe grew up listening to his father’s record albums and came to love such music as The Beatles, Crosby, Stills, Nash & Young, Cat Stevens and Michael Martin Murphy’s “Geronimo’s Cadillac”. Buying his first guitar for ten dollars, he was compelled to start playing and writing immediately and begin his search for the perfect melody, one he has yet to satisfy.

Through his music, Oyloe plays tribute to those he admires while managing to keep the sound his own and something hand-tailored for the modern day.

His lyrics are clearly-focused, revealing simple truths grounded in the enigma of fierce emotional intimacy: lost loves, personal challenges, misunderstanding, lies and unrealized dreams. “My music haunts me,” Oyloe says. “It frustrates me, it is soothing and challenging, dangerous and disastrous, beautiful and bland”.

Oyloe’s vocal talents fall easily into the ranks of legends such as Jeff Buckley and James Taylor, saturating every song with lush melodies, sometimes soaring and crooning and sometimes delicate and understated. His vocal ranges alone traverse a broad spectrum of emotion, at times dark and contemplative, reflecting the stark honesty and ardor Oyloe brings to his music, and other times driven by an upward grace and sweeping romanticism.

words & music, technically isn’t the first album Oyloe has worked on. He previously recorded a full-length album with college-friend Tommy Mokas and their group, Coldwater Poets. However, due to lack of funding and Oyloe’s decision to move to New Zealand, the project was never able to be released. It was in New Zealand that Oyloe pushed the boundaries of his artistry in several compelling and remarkable directions-being cast as Marius in the country’s production of Les Miserables, he added to a long list of credentials as a actor/musical theatre singer, Oyloe also traveled extensively, where he found much of the time and inspiration to write and compose his own music.
What makes words & music even more remarkable is that it is entirely self-produced and recorded locally and comes with the support of several local Decorah, Iowa area musicians.

The beauty and magnitude of Oyloe’s talents are sure to raise the standards in the music industry of today and for generations to come.
Words & Music Review
Reviewer: Chase Simmering
Reviewer: Ken Mowery
CD: Words & Music
Style: Folk

Quote: “This young man is more than a simple folk singer.

Oyloe is a talented singer/songwriter whose art has been forged amid the small-town isolation and pace of rural Iowa. These roots are discernible both in the music and in the contemplative lyrics. They give a poetic quality to Oyloe’s writing that draws the artist and his audience together in a profoundly introspective experience. It’s a transcendence made possible by Oyloe’s judicious employment of vivid imagery coupled with “moment in time” snapshots of real-life emotions. The end result is music that listeners will find broadly relevant and deeply stirring.

The CD is very well done, with traditional folk instrumentation featuring Oyloe on acoustic guitar and vocals, Jody Koenig on bass and electric guitar, Erik Berg playing drums and percussion, Tom Bourcier piano and organ, John Goodin on mandolin and both Jeroen Van Tyn and Amber Dolphin playing violin. Although all of the instrumental performances are strikingly flawless, it is Oyloe’s dynamic vocal range and emotive timbre as he sings his songs that sets this project apart.

Oyloe has so seamlessly bound the melodic contour of his songs with his unique voice and lyrics that listeners may not discern the amazing merit of the vocal track at first. Soaringly high passages in songs like “Long After It’s Gone,” “Dreaming of the Underwater,” “My Bathe With You,” and ‘I Am” make it clear that this young man is more than a simple folk singer. In fact, songs like these make it difficult to classify Oyloe’s music with their eclectic sound and almost ethereal mix of folk, jazz and rock.

Interestingly, in spite of the dreamy ambience of this CD, the song “I Am,” with its hook-like refrain toward the end, is certainly the most memorable song and may even be the best song on the entire project. However, that is a distinction that could well be given to just about any of the tracks, which is to say this is a very good CD. Once added to your collection, it will collect no dust because you will find yourself often returning to enjoy the Oyloe journey again.


Acoustic troubadour Peter Oyloe gently spins a storytelling web. His tales of love and loss, augmented by a powerful backing band, invoke the spirit of Paul Simon and James Taylor. File this burgeoning talent under future folk legend.
Editor’s Review
Quote: “Peter is the best folk singer I’ve heard in decades.

I first heard Peter’s music on a music based website. Out of the thousands of singers on the site, he quickly became my favourite. I am a child of the 60’s and 70’s, so grew up listening to folk music. Peter easily compares with the greatest from that generation. His voice is comparable to that of Tim Buckley…in other words, amazing. Because of my financial situation, I rarely buy Cd’s any more…but for words&music, I made an exception. There is rarely a day that goes by that I do not listen to this magic. Peter’s album has brought me to tears…to great yearning…and produced smiles. I close my eyes, and just let his music take me to another place. Peter’s lyrics are so meaningful, and his enunciation allows his listeners to hear the stories he weaves with his words. He has also gathered some great musicians to play along with him…the violinist is sublime. If you enjoy the best of the best in acoustic/folk music, then this is the CD to buy and listen to, over and over again. I have a feeling Peter is going to be an international star some day…he is that good! This CD was one of the best gifts I’ve ever given to myself. website
Reviewer: Liz Kaye
Quote: “Oyloe’s Words & Music will become part of the soundtrack of your interior life.

When you listen to Words & Music for the first time, if you know nothing of Peter Oyloe, you may think you’ve stumbled late upon a seasoned song-writer and start scouring the records bins for his early albums. But amazingly Words & Music is Oyloe’s first, and it will leave you hungering for more. Oyloe’s songs are undeniably infectious and poetic, but I have to apologize immediately for using those words, for they can be as misleading as they are accurate. The songs are not malignantly infectious, like a Carpenters ditty. They are more insidiously yet salubriously so – entering somehow along your spinal chord and remaining there until a quiet moment, when they resurface again almost neurally to enhance the pleasure of your solitude. You do not hum an Oyloe tune while caught in traffic, tapping your fingers on the steering wheel. His songs become instead a part of the soundtrack of your interior life. The lyrics are full of stunning images, evocative lines. They are poetic – but they are not poetry. I do not think most of them would have a comparable effect printed alone on a page, nor should they. Instead, they are truly lyrics, melded inseparably to the music, each augmenting the other and creating more meaning (and more pleasure) than each could convey alone. This is what song-writing is all about. Which brings us to the music itself: It’s an alternately delicate and funky combination of folk, jazz, and rock elements – but saying that may be misleading, too. For, ultimately, Words & Music is a syncretistic fusion of such disparate influences as Tim Buckley (only us oldies may remember), Natalie Merchant, REM, David Gray, Tracy Chapman, James Taylor, and Nickel Creek. You may hear others. Yet this is not a derivative album in any sense. It is built upon the past, not a copy of it. That makes Words & Music as intelligent in its composition as it is a sheer joy to hear. One word about the band. It’s accomplished and tight, thinking only to serve each song as best it can. These are talented musicians, and (I hope they forgive me for saying so) all of them are substantially older and more experienced than the young man they are backing. They actually sound like they are playing on the album because they believe in the material and recognize the fledgling genius of the young man who composed it. Listening to Words & Music, you will recognize it, too.

Tapestry Newspaper
Reviewer: Charlie Langton