Berlin-based songwriter Ryan O’Reilly releases the official studio version of “Elizabeth,” a reflective and memorable alternative folk gem written nearly 20 years ago. Originally penned in 2006 before a summer tour of Canada with future Dwayne Gretzky founders Tyler Kyte and Nick Rose, the song channels O’Reilly’s deep admiration for Gram Parsons into something more country and bluegrass-inflected than typically associated with Irish or English songwriters.
“Elizabeth” is taken from O’Reilly’s new album Native Companion, out now. Inspired by David Foster Wallace’s essay collection A Supposedly Fun Thing I’ll Never Do Again, the album title nods to the collaborative spirit that defines O’Reilly’s journey from Toronto’s Dwayne Gretzky community to Berlin’s L.A. People. The record features contributions from Spencer Cullum Jr., classical cellist Anastasia Povekvechnykh, Jadea Kelly, Missouri songwriter Ian Fisher, and screenwriter Christopher Moynihan.
Lyrically rich and poetic, “Elizabeth” paints the portrait of an enigmatic, slightly troubled young woman who “steals the show” despite the darkness and loss that surrounds her. The song captures the beauty and unpredictability of young love and the feeling of standing mid-scene in a play, unsure of the ending but fully immersed in the moment.
Recorded at Dwayne’s World studio in Toronto, the track reunites O’Reilly with longtime collaborators Tyler Kyte and Nick Rose, alongside members of Dwayne Gretzky: Simeon Abbott (piano), Adam Hindle (drums), and Dave Dalrymple (bass). Engineering duties were handled by Ian Docherty, guitarist of July Talk.
The single also features London-born, Nashville-based pedal steel legend Spencer Cullum Jr. on lead guitar. Cullum, in town performing at the SkyDome (Rogers Centre) with Miranda Lambert, stopped by the studio, was handed a beer and a guitar, and delivered his part in a single live take.
The recording process intentionally preserved a live, relaxed atmosphere. O’Reilly, Kyte, and Cullum Jr. sat on sofas while performing, capturing the song’s restless energy and lived-in warmth. The result is a version that feels both nostalgic and immediate, a full-circle moment for a song that has been performed on street corners and stages for two decades.
