"Diamanda Galás, the ferocious Greek-American voodoo-blues medusa."
The Guardian, December 2009

"The set of songs -- political, raw, non-corrosive, and without any sentimentality -- has been carefully selected to make her message clear. Diamanda is one of the few who dares to express what is left after the devastation of the world -- only women in black.... Her performance is worth prolonged attention and reflection. Without her the world of music would be more barren."
--Dnevnik
City of Women 2009 Festival, Slovenia

"The heart and strength of the performance lie in the songs themselves, in their implementation and finally in their selection. The core of the performance was made particularly of chansons and blues with slight echoes of jazz, country music and contemporary classical music of the previous century, in which Diamanda put her own, special voice with piano's accompaniment. They were both exquisite with their own distinctive language, which became slightly calmer in this context but achieved great depth. In terms of expressiveness, it represents one of the most powerful concert experiences of the last few years."
-- Delo
City of Women 2009 Festival, Slovenia

“Loud and devilish interpretation cuts and tears us deep into the skin, but if we dare to go beyond, we can find in her a bright beam that can grow profusely into something beautiful.”--Danaja Grašak, “Diamanda Galás’s black mass” (Blog from Slovenia)

"By all accounts avant-diva Diamanda Galás was even more breathtaking at the Outremont theatre on Saturday night, cathartically evoking and exorcising the demons of plagues and genocides with just a piano and her nonpareil vocal power." --Carl Wilson, Globe and Mail, Montreal (October 2009)

"Diamanda Galás a tenu sa grande cérémonie que certains aiment estimer de style gothique. Robe de soirée, cheveux longs d’un noir rutilant, voix hallucinante, maîtrise probante du clavier. Quelle bibitte mesdames et messieurs. J’en étais à ma quatrième représentation sur scène de la chanteuse et pianiste de New York - la dernière remontait aux années 90, alors qu’elle avait présenté Plague Mass au Festival de musique actuelle de Victoriaville. Comme prévu, la Galas (…) a usé de son charisme et son sens du rituel. J’ai beaucoup apprécié le dosage entre ses sparages vocaux et les balises connues de son art - musique classique européennes ou oriental, chanson grecque ou française, j’en passe. --Alain Brunet, La Presse, Montreal (October 2009)

"Diamanda Galás gives a performance of emotive power. Harsh, certainly, but this is what makes these songs of love, sex, death and displacement resonate with such terrible beauty."
-- NME Review, May 23, 2009
(SONGS OF EXILE, Brighton Festival, England)

“[Galás’ songs] are, first, fascinating to hear, and, perhaps more importantly, radical in their redefinition of what music can and should be. Her artistry is inimitably bold, impossibly masterful. No one else will go where she goes vocally. Or maybe it’s simply that no one else can.”—Megan Milks, popmatters.com (November 2007)

“ ‘O, Death,’ is prime—and primal—Galás. She [plays] gutsy, rippling notes that hang in the air like a deftly poised dagger in a New Orleans bawdy house [and] introduces the lyrics as if her lungs were a dark, forgotten cave, the words sepulchral, final. Before too long, she launches into a succession of improvisations —dizzying variations in pitch, piercing wordless leaps up the scale, an extreme aria that loops and plunges back into bluesy vigor.”—Steve Dollar, Time Out Chicago (October, 2007)

"[Galas] turned ‘O Death’ into a form-changing keen meant to set all the dogs to howling the next holler over, because they hear the banshees first (...) in ‘Keigome Keigome’ (I'm burning, I'm burning) Galas lets that voice growl and roar before erupting into shrieking high-end ululations that sound like a flock of carnivorous birds beating themselves to death against a vaulted ceiling."—Monica Kendrick, Chicago Reader (October 2007)

“Galás’s operatic blues gnaw right at the soul here, a wordless moan of grief and pain somewhere between the spine tingling ululatory howl of a Middle Eastern funeral and distracted humming from a cell at the asylum.”—The Wire

“She's been compared to a vampire, a Valkyrie and a lizard queen--all appropriate, since she looks undead, and ready to suck the life from your still-beating heart."—Time Out NY (2007)

"Specializing in music that can be as jarring as it is uncompromising, the dark avant-garde chanteuse, who can smoothly croon and hellishly exhort in equal measure, eschews the notion that music should simply entertain, Galas rarely fails to make an indelible impression, whether exhuming old blues standards or wailing for the unjustly deceased."—Alex Ross, The New Yorker (2006)

 “No other presence in new music is so dramatic, so frightening, so controversial as Diamanda Galás.  Her voice is the most phenomenal in new music.”—Kyle Gann, American Music in the 20th Century