“The emotional resonance of Phillips’ music is universal, which – in a way – makes it even more radical in its implications.”
Craig Lee, Los Angeles Times, July ’89

“Gretchen Phillips is a goddess.”
Kathleen Bennett, North Bi Northwest, May ’91

“This tape is real good, but Phillips is even better live. She should be seen at least once by anyone who likes catchy, funny, pop that’s way on the weird side.”
Phillip Niemayer, Peek-a-Boo, May ’94

“[the] Gretchen Phillips Experience played very competent loose-limbed alternative rock with blues guitar riffs, country twanging, folksy lyrics and reggae rhythms thrown in for good measure. Segueing a song about being an ‘ultra-radical feminist’ into a fantasy about a woman who swims at her gym, Ms. Phillips approached her subject matter with intelligence, ease and humor.”
Neil Strauss, The New York Times, June ’94

“Phillips’ new material reveals the degree of her responsibility for the “edge” in her previous bands. The four-track, tapeloopy experiments on her cassette Welcome to My World and a Half show a gleeful Gretchen bouncing off of cultural icons…[her] more structured, poppy compositions contain evidence of one of the most warped, wonderful songwriting talents in our town and in our age.”
Kate X Messer, The Austin Chronicle, March ’95

“The fact that Phillips uses her angelic, well-versed voice and wit to deliver cleverly astute punker than punk sentiments is a key factor in her continuing significance to Austin music. She is one artist you can be a localist about and really mean it.”
Greg Beets, The Austin Chronicle, March ’98

“Gretchen is a goddess of pop, one of few humans able to stand on stage with a guitar and still give you goosebumps. It’s the power in her voice, but also the tenderness. It’s also her point of view, which defies words…[I]f you listen closely, you can feel how it feels to feel, even when you’re too busy thinking.”
Jason Tougaw, Buddy (NY), Summer, ’98