“(Snapshots) is a sprightly slice of coffee shop pop, literate and with hidden layers.” – Noise
“Quirky, sentimental and a little twee, it’s very sweet indeed.” – Aoife Barry, The Irish Times
‘Snapshots’ is a meaningful quirky folk song with singalong qualities and an indie soundtrack which is pitched perfectly to compliment Dorothy’s fine vocals. – 2UIBestow
“Eleventyfour is a purveyor of quick-fire, slightly ditty-ish acoustic guitar music. She’s prone to leftfield analogies on subject matter like the good you could do if you stole large pieces of construction equipment (there’s plenty of it lying around these days, after all), or the diversity of her clearly varied social group.
Having found an appetising niche through regular appearance on the festival circuit, the Cork native delivers with a slightly childlike sense of wonder, mixed with a sharp wit and a habit of winning over crowds. She has The Rubberbandits’ eye for social observation, yet rarely encroaches on the offensive, instead making her observations largely reflective in nature. She tells stories in a live setting that are exceptionally interactive and amusing. It’s on stage – where those ditties clash with an array of spoken comedy – that she’s in her essence.
Tonight, with her usual life-affirming energy, Eleventyfour – Dorothy to her mother – manages to maintain that charm even when she slips in a nasty one (a line about ‘sexy children’ emerges before she even strums a note), as well as when her friends glorify a raffle-winning stranger and transform him into a world-saving, lady-grabbing superhero doused in sparkling sex appeal. Things progress in a similarly gloriously ridiculous vein.
Parts of Eleventyfour’s act hint at a Tim Minchin-esque eye for daft musical angles, but there’s ample musicianship to back it up. At other times, she is reminiscent of a particularly well-written glance inside the less child-appropriate back alleys of Willy Wonka’s factory, an amusingly twisted land almost beyond imagination delivered in superlative Technicolor.
So that’s where we find ourselves, drifting around the world on the shoulder of a giant, replacing his facial features with our bodies or examining the inner lining of his deep pockets in Eleventy’s dainty shoes. Later we’re flying to the moon and considering settling, before the entire audience compare notes on friends called Michael. Sadly, ‘Greetings Earthling’, a track that features the epic line “you’re my favourite foetus baby”, is missing tonight, but there’s a rare talent here, one that is funnier first time round, but has enough banter to hang on.
There is a special purpose for tonight: the launch of latest single Snapshots. Eleventyfour has already dropped in countless ‘one time only’ references to her band – which features members of the likes of Fred, The Dead Flags, and Big Monster Love. The assortment stumble stage side for a quick-fire two-song closing, the latter of which is the single itself.
Both tracks are delivered at a pace Eleventyfour wouldn’t normally play at, with the front woman herself throwing her guitar into rock poses as she belts out the life-affirming, life-encapsulating angles in a series of poignant lyrical portraits. The rock isn’t likely to become the norm, but as long as Eleventyfour’s imagination remains quite so deliciously vivid, going heavy can remain yet another unexpected, loveable step.” James Hendicott – AU Magazine
“I rush into The Grand Social hoping to catch the second half of EleventyFour‘s set. As usual, the crowd is huddled around the area at the top of the stairs as if the performer is a fire-breathing dragon. As I venture up into no-man’s land near the stage, the dragon turns out to be a grinning girl in colourful patchwork clothes, who is in the midst of complaining about people like me arriving when she’s run out of songs. She’s a talker. She whips up a bit of support from the crowd who seem to like the idea of her starting her set from the beginning again. I’m not complaining. The songs are short, snappy, witty and though the obvious reference point is Kimya Dawson, her lyrics – full of innocently delivered depravity – remind me of Phoebe from Friends making people spit out their coffee with wide-eyed glee. You could argue that she’s more of a stand-up comedienne than a singer, but she’d smile, nudge your elbow and babble on hilariously and before you know it, you’d have lost that argument and you’d be cheering for the forklift song again.”
“It would be a hard heart that couldn’t be charmed by this solo female’s acoustic vignettes that are as comedic as they are brimming with melody. Songs like ‘Forklife’, about nicking a forklift, stem from the same family as Christy Moore’s ‘Don’t Forget Your Shovel’, albeit with a Kimya Dawson slant. Yes there’s a huge novelty aspect to tunes such as the cutesy ‘Small Wonders’, but it’s easy to be taken in by Eleventy’s short, snappy, primary school teacher pop songs straight from her kooky personality.”