An Afternoon with Lori Lieberman at Carnegie Hall

Lori performs her new song, “Woman” at The Cutting Room, NYC

"Lucky Life" the official video, written by Lori Lieberman and the Refugees

Lori talks about working with Dutch artists on her new CD.

A new song written and performed with the 3JS in Auro-3D 9.1.

It is an honor to be included in Roberta Flack’s wonderful new documentary. /masters/roberta-flack/



192/24, Hi Rez for streaming or download on Quobuz and other streaming services, and in DSD 256 for purchase on Blue Coast Records.

Two Lori Lieberman albums are now available in Dolby Atmos at Immersive Audio Album:

Truly, Mixed by Bob Clearmountain and mastered by Darcy Proper
Bricks Against The Glass, Mastered by Ronald Prent

Lori Lieberman

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Lori Lieberman

Lori Lieberman
The Girl And The Cat

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Lori Lieberman


Lori in June
What I’ve been up to…

June was an incredible month as I went to Europe and had three of my most favorite moments:
A solo concert in Denmark, a concert in Geneva, Switzerland, where I grew up, accompanied by a children’s choir, and conducted by the talented John Aram, and finally, a live to analog album recorded in Berlin at LowSwing Recording Studio. Fink came and sang a Lou Reed song with me, and I was surrounded by the most incredible musicians, and produced/engineered by Guy Sternberg. The album should be out around the fall, just in time, hopefully, for my concert at the El Rey in LA on November 2nd.

Be well,

A New Year…
Last year ended on such a high note, marking my third concert at Carnegie Hall.
It was such a high point for me, accompanied by such stellar musicians (cellist Mairi Dorman-Phaneuf, violinist Aaron Weinstein, bassist Thomas Hubbard, and special guest, Caelan Cardello). Although it was pouring rain, it meant so much that the hall was filled with such an appreciative and wonderful audience. I have a lot of exciting things that will be happening this year and will announce a bit later.

I hope you all have a blessed New Year, keeping those you love, close.

Best always,

Review of Truly by Michael Fremer, The Tracking Angle
Lori Lieberman performs this set of standards without a “net”—no reverb bath, or any kind of cover. Singing directly and closely “on mic” where there’s no room for error, she delivers her finest vocal performances on record. Recorded live at Apogee Studios in Los Angeles and engineered by Bob Clearmountain using his original Neve board now residing at Apogee, the stage was set for a great sounding production.

The Anthony Newley/Leslie Bricusse classic “What Kind of Fool Am I” builds to a climax that Lieberman skillfully builds towards and successfully negotiates. A breakthrough performance. The self-penned title tune is a dramatic Tango punctuated by Lyle Workman’s simmering guitar lines. The title tune isn’t always an album’s highlight. This one is. And Lieberman’s version of “It Might As Well Be Spring” is sung in French- hardly a stretch for the Swiss native and delightfully delivered.


Truly, is, in my opinion, Lori Lieberman’s finest album to-date, both musically & sonically, guaranteed to become an audiophile favorite. A potpourri of fresh covers of the American Songbook, sprinkled with new, original compositions, embellished by original arrangements, played by some of the finest musicians, Truly was recorded, mixed and mastered to perfection.”

On a Higher Note

“It’s taken the half-century since her eponymous debut, but Lori Lieberman – who always was a hybrid of singer-songwriter and performer of others’ compositions – has revealed yet another masterful talent, seasoned by the passing of decades. As revealed on Truly, her way with a handful of standards begs for even more. From the opening notes of ‘You Go To My Head’, Lori emerges as an impeccable yet sensitive interpreter of classics from the Great American Songbook and beyond. If you loved the way Carly Simon and Linda Ronstadt looked to the gems of an earlier era, you’re in for a thrill.”

Ken Kessler


Sometimes an album can take a long time to think about. And sometimes, even longer to record. This album, however, proved me wrong on both counts. Twelve songs in six days!

The two years of Pandemic isolation affected everyone in different ways. For me, I descended into a kind of funk that led to a frustrating rabbit hole of writing songs that even I didn’t want to listen to. As I struggled with subjects that were either too positive, too self-indulgent, or too negative, I began to despair. Until one day while walking my dogs, I thought, “Wait! What about singing- I can still sing, can’t I?”

I thought about the songs that had filled my head with memories while growing up in Switzerland: wedged between my two sisters in the back, our mother in the passenger seat, my father would drive us through the dizzying mountain roads playing Sinatra and Bobby Short on his latest eight-track system. I loved and sang along to I Like the Likes of You, Moonlight in Vermont, You Go to My Head, and so many others. The music provided the perfect backdrop for a childhood marked by my father’s adventurous and joyful spirit. Having lost him three years ago I feel in many ways, he is behind this project, and so I dedicate this to my always colorful and forever, complicated father.

Once I had the idea to do an album of these songs, I ran it by my husband and Executive Producer, Joseph Cali, whose enthusiasm meant so much to me. From there, I reached out to Matt Rollings from Nashville, whose work I had first discovered on some of Mary Chapin Carpenter’s albums as well as his collaborations with Lyle Lovett, Willie Nelson, and Alison Krauss.

Joining Matt and me on this album, and superstars in their own right, were the gifted David Piltch on bass, Lyle Workman on guitar, and Victor Indrizzo on drums. We came together over Joe’s famous pour-over coffee, and in music and friendship, for six days recording live, two songs a day, at Apogee Studios in Santa Monica, CA.

I could never thank Betty Bennett and Bob Clearmountain enough for opening their studio to me.


Group Photo

Notes from the Executive Producer
Live At Apogee Studios

When Lori told me about her idea to record an album of standards with a small Quartet led by Matt Rollings on piano, my first realization was that we couldn’t do this in our normal studio. This had to be performed live. I contacted my good friends- the legendary engineer, Bob Clearmountain and Betty Bennett, who is one of the founders of Apogee Digital, which creates the most wonderful professional audio devices in the world, delivering the ultimate sound and quality. I asked if the space would be available for a 6-day period for a live recording. It was an intense high-pressure schedule, but I told them of our concept and how Apogee Studio, well, had “Magic.” The control room had Bob’s original Neve board, the classic recording console, and had an amazing stock of classic tube and solid- state microphones. And to add to it, Bob said he would like to engineer and mix the project. The first day we arrived I knew this was a pairing of musicians and technicians made in heaven. It was an incredible collaboration right from the start. I am confident you will enjoy every note.

Joseph Cali

The Girl and the Cat Album Cover

Lori Lieberman’s Exquisite Album of Loss and Regret

Michael Fremer | Analogue Planet

Cushioned by the Netherlands-based Matangi String Quartet, plus bass drums, percussion and occasional guitar, singer/songwriter/pianist Lori Lieberman delivers a tender, occasionally excruciatingly intimate song cycle replete with regret, heartache, abandonment, longing, and loss.

The opener “You Can’t Take it Back” serves as an admonition about acting in haste and regretting it. “Even though I took the blame, I would have lost him anyway” the song’s character admits. “Martha and Me”, is based on a playwright Marian Fontana’s short story about two very different women, both of whom lost their husbands on 9/11. The two were members of Brooklyn’s Squad One, an elite FDNY team of first responders that lost a dozen members that day. One was Fontana’s husband Dave.



Two years ago I had a dream to create a genre-bending album that would feature the Matangi Quartet from the Netherlands. I knew that I didn’t want to confine my music to any specific lane, and that I hoped to present this collection in concert, and in beautiful and respected venues. These photos and videos are from my recent tour that included Carnegie Hall, NY, Het Concertgebouw, Amsterdam, and several others throughout the Netherlands. I came home to LA following my tour, with a feeling of fulfillment, and that my dream had been realized.

Lori Lieberman and the Matangi Quartet at Concertgebouw Performing “Empty Chairs”/ “Killing Me Softly.”

Lori Lieberman and the Matangi Quartet in concert “Girl Writing a Letter”

Lori Lieberman and the Matangi Quartet “He Sings”

Lori Lieberman and the Matangi Quartet “Something of my Own”


I never really thought this would happen… so many years had passed since Roberta Flack had heard me on an airplane and recorded “Killing Me Softly”, – the song that would forever alter my life… but call it synchronicity or just the passage of time, she asked if we could meet just prior to my Carnegie Hall concert, and it was one of the most meaningful moments for me. She was beautiful beyond words, and it was profound, two women, forever joined together by a song.

Lori Leiberman meets Roberta Flack


Lori and the Legendary Kris Kristofferson

Lori and Joe with Stephen Stills and Judy Collins

Lori celebrating her birthday concert