"One of the more compelling pop singer/tunesmiths
we've heard in recent times…a star-in-waiting."
-Billboard Magazine

Skott Freedman's musical career began at the age of six, overdramatically slowing
down "Somewhere Over the Rainbow" on the family's small, electric organ in the
basement till he felt it was "moving enough" to bring tears. When he dragged his
parents downstairs to listen, they hesitantly smiled and said, "Um...good honey,
keep working at it...". Nineteen years later, Skott Freedman is one of the most
exciting singer-songwriters to emerge on the independent music scene. His
work has been both nationally and internationally recognized as devoted fans
are becoming increasingly aware of this 25-year-old rising star each year.
Freedman has toured all over the United States and Australia with a special
guest performance at the Sydney Opera House. Freedman's stunning
three octave voice varies in its flexibility, ranging from the fiery bursts
in "In November" ("In November when the rain isn't rain anymore and
the only way to even the score is to pretend you were that way before")
to the soft, barely audible whisper in "I'd Like to Think I Would" ("I
know we've never fought like this…I've never thought like this about the
end."). Rich in tone and pungent with emotion, Freedman uses his voice
as a true instrument, varying the expression and intensity with every note.
The final product sends the listener on an emotional roller coaster ride.

A native of New Jersey (like another down state "piano man"), Freedman grew up
a child piano prodigy, winning statewide competitions by the time he was fifteen.
It was then where he began straying off the path of his classical mentors, writing
music that was hauntingly beautiful and further developing his taste for dissonance.
In many of his songs today, Freedman uniquely sustains a note just a second
longer than the listener expects and then suddenly resolves it. In his faster songs,
Freedman's fingers fly across the piano, amazing listeners at his notable speed and
accuracy. Other times, Freedman performs the most tender of ballads and uses his
soft attack and delicate grace notes to make the piano breathe with him. Lyrically,
Freedman also excels in his undeniable talent to write personal songs that still connect
to his listeners. He keeps the listener interested, covering subjects as light as skinny
dipping to the intense, darker side of things such as the loss of a family memberr. He is a
true songwriter with each song unfolding a story that initially invites the listener
in, offers some insight into one of many raw emotions, and then gently shuts
the door again. "Freedman's straightforward lyrics about life and love make his music
truly stand out...get freed," urges HX.

Freedman's debut CD, "Swimming After Dark," independently released through
Violent Yodel Records in 1999, has already sold over 2000 copies to date.
It received rave reviews from national publications in
Chicago, Boston, Atlanta, and more..

A four song ep, "Best Little Boy", was also released in the summer of
2000 as a limited in-between projects recording.

Freedman's third recording, "Anything Worth Mentioning", was released in
2001 as a follow up to his critically-acclaimed 1999 debut. "Anything Worth
Mentioning" was Freedman's first full-band effort and featured the piano, bass,
drums, percussion, banjo, background vocals, and a surprise guest singer.
It received glowing reviews from Billboard, NEXT Magazine, Southern Voice,
and more.



Freedman's fourth recording, "Some Company", was released in 2003 and
featured new originals and Freedman's return to his earlier roots of solely
solely voice and piano. Rave reviews appeared in Billboard Magazine,
The New York Times, The Village Voice, Genre, and more.



Freedman's upcoming release, "Judge a Book" (5/3/05), marks his first cover album
and features guest collaborations with Jill Sobule, Edie Carey, and Mark Weigle.
Fans voted favorite cover songs online at Freedman's website during 2003-2004
and the top 11 songs were recorded this past winter.

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…about the shows

"After a final crashing chord, Freedman made a beeline for the door and the
cool night air, leaving his audience blinking and the next scheduled band
wondering how the hell you follow something like that."
-The Spectator, Chapel Hill, NC

He's got the voice, the words, and the music. Armed with a rich,
three and a half octave soaring voice, and his critically acclaimed skill for
capturing everyday emotions in almost shocking clarity, Skott Freedman
hypnotizes his audiences and doesn't let go until he steps off the stage.
While his complex yet never masked songs are what initially pulls listeners in,
it's what he says during the 1-2 minute song breaks that keeps them there. As
much as his energy-packed shows are the powerful music itself, Freedman's
clever and often improv humor, coupled with his talent to recount humorous
gym-class taunting stories from childhood, leave his fans feeling as though they
have just gone out for coffee with an old friend. Sometimes the audience feels as if
they're at a comedy show and then the next song begins and suddenly they're
swept into a dramatic, intense setting. The intimacy he creates with his audience is
what keeps them coming to his shows though, from New York to Los Angeles.
Whether at a festival with CeCe Peniston and Sophie B. Hawkins in front of
screaming thousands to a small cafe in Boston where he goes around and to the
audience's surprise, finds out everyone's name, Freedman really connects with his
audience. He offers his listeners funny, heartfelt, and sometimes painful renditions
of his past, still managing to make it universal enough for listeners to enjoy
themselves and easily take something from it.

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