Photo by Emma Dodge Hanson

My most important musical inspirations:

first, the Beatles, when I was in grade school

Then Joni Mitchell, when I turned 14.

Then all the singer songwriters of the 1970's (James Taylor, Jackson 
Browne, Janis Ian, etc.)

Then Mary McCaslin, when I was 18 or so.

Then Gram Parsons and Emmylou Harris, when I was 22.

Then Steve Earle.

She started out singing in Chicago bars. Then, barely out of high school, Lucy Kaplansky took off for New York City. There she found a fertile community of songwriters and performers - Suzanne Vega, John Gorka, Bill Morrissey, Cliff Eberhardt, and others - where she fit right in. With a beautiful flair for harmony, Lucy was everyone's favorite singing partner, but most often she found herself singing as a duo with Shawn Colvin. People envisioned big things for them; in fact, The New York Times said it was "easy to predict stardom for her." But then Lucy dropped it all.

Convinced that her calling was in another direction, Lucy left the musical fast track to pursue a doctorate in Psychology. Upon completing her degree, Dr. Kaplansky took a job at a New York hospital working with chronically mentally ill adults, and also started a private practice. Yet she continued to sing. Lucy was often pulled back into the studio by her friends, who now had contracts with record labels (and wanted her to sing on their albums). She harmonized on Colvin's Grammy-winning Steady On, on Nanci Griffith's Lone Star State of Mind and Little Love Affairs, and on four of John Gorka's albums. She also landed soundtrack credits, singing with Suzanne Vega on Pretty in Pink and with Griffith on The Firm, and several commercial credits as well - including "The Heartbeat of America" for Chevrolet.

Then Shawn Colvin - who was itching to produce a record - hooked up with Lucy, her ex-singing partner. They went into the studio, and it all came together. When Lucy's solo tapes got into the hands of Bob Feldman, president of Red House Records, he was blown away. Suddenly, Lucy was back in the music business. She signed with Red House and started playing gigs. Red House released The Tide in 1994 to rave reviews, and within six months Lucy signed with a major booking agency - Fleming Tamulevich & Associates - and began touring so much it required leaving her two psychologist positions behind.

Lucy's second album, Flesh and Bone (1996), was produced by Anton Sanko (producer of Suzanne Vega's Days of Open Hand), and it clearly showed a performer and songwriter stepping into her own. Some of Lucy's favorite singing partners joined her in the studio, including Jennifer Kimball (formerly of The Story), Richard Shindell, and John Gorka. Where The Tide had showcased Lucy's formidable interpretive skills, Flesh and Bone emphasized her development as a gifted songsmith. The album is graced with eight absorbing original songs, as well as four sharp covers.

Both The Tide and Flesh and Bone received significant radio airplay, and turned in impressive appappearancesthe Gavin Report's Americana and A3 charts (reaching the top 10 and top 20 respectively), as well as earning Honorable Mention Indie Awards from the Association for Independent Music (AFIM). She was also featured on National Public Radio's "All Things Considered" and "Morning Edition," Mountain Stage, West Coast Live, Acoustic Cafe, and Vin Scelsa's "Idiot's Delight." Extensive touring in the U.S. and Europe have helped establish a far-reaching fan base. Lucy also contributed her story to a unique book, SOLO: Women Singer-Songwriters in Their Own Words, which includes some of the best known women on the music scene today: Ani DiFranco, Shawn Colvin, Sheryl Crow, Jewel, Sarah McLachlan and others. She is also featured in Lipshtick, a collection of essays by NPR commentator Gwen Macsai, which was published in the fall of 1999.

Lucy's voice continues to remain in high demand by her peers, and she can be heard on recently-released albums by Nanci Griffith and John Gorka. Another recent project combined the talents of Lucy, Dar Williams and Richard Shindell into a "folk supergroup" of sorts. Calling themselves Cry Cry Cry, the three chose to celebrate the amazing revitalization in contemporary songwriting, and recorded some of their favorite songs written by other artists. The resulting album, Cry Cry Cry (which The New Yorker dubbed "a collection of lovely harmonizing and pure emotion," and to which Entertainment Weekly gave an "A" rating), has met with astonishing success in stores and on radio. A national tour of sold-out concerts by the trio has served to introduce Lucy's luminous voice to a new expanse of eager listeners.

Since the release of Ten year Night Lucy has toured extensively in Ireland and the UK. This album is her most successful record to date and received the AFIM award (Association For Independent Music) for Best Pop Album in 1999. Her new recording, Every Single Day, features Lucy's sumptuous voice on seven original tracks (cowritten with her husband Rick Litvin and Duke Levine) and four cover songs. The players (Larry Campbell, Zev Katz, Jon Herington, Duke Levine and Ben Wittman) bring a wide array of talent and inspiration, and the rich harmonies of John Gorka, Richard Shindell, Buddy Miller and Jennifer Kimball combine with Lucy's voice to produce a unique and amazing vocal synthesis. Voices and instruments coalesce exquisitely into a perfect blend of folk-pop and alt-country. The performance is riveting: the nuance, power and texture in her voice are matched by the imagery and emotion of her lyrics and melodies. She gets to the heart of a song, touching listeners and leaving them wanting more.


My favorite music, artists, etc. are listed in no particular order.
Musical inspirations:
Founding fathers of rock'n' roll Fats Domino and Dave Bartholomew, Chuck Berry and Johnny Johnson, Little Richard, Earl Palmer.
Randy Newman, Van Dyke Parks.
Traditional Irish Ballads.
The Beatles and growing up in Liverpool.
Lieber and Stoller, and the Brill Building writers.
Fav CDs:
What's Going On-Marvin Gaye; Orange Crate Art-Van Dyke Parks and Brian Wilson; Rubber Soul-Beatles; Irish Heartbeat-Van Morrison and The Chieftains;
O Malandro-Chico Buarque.
Fav Songs:
Why Did I Choose You-Marvin Gaye; In My Life-Beatles; Painted From Memory-Elvis Costello and Burt Bacharach; Still Crazy After All These Years-Paul Simon; Blue Monday-Fats Domino.
Fav Musicians:
James Jamerson, Earl Palmer, Larry Knechtel, Allen Toussaint, Herb Hardesty, Al Jackson Jr., George Harrison, Ray Charles, Paddy Moloney.
Music has helped me in every difficult time in my life, but has conversely given me some difficult times, in it's business aspects, but it's been worth the trade-off.

In a career beginning in Merseybeat era Liverpool, this songwriter / producer / multi-instrumentalist has seen success as a composer, (with the international '70's hit "Rosetta" and an ongoing collaboration with Dr. Hook frontman Dennis Locorriere among the highlights) as a touring and studio musician/arranger; and as the operator of his own publishing companies and recording studio in Nashville, Tennessee.

In recent years, Michael Snow's music has gravitated to reflect his Liverpool-Irish roots. The result is a collection of original songs titled "Here Comes The Skelly," recorded in Nashville over a six-week period in the autumn of 1998. The album features outstanding musical contributions from Mr. Locorriere, respected British folk-rocker Clive Gregson, and the Nanci Griffith band rhythm section of Pat McInerney and Ron DeLaVega. Included in the song sycle is a collaboration with the late great pianist Nicky Hopkins.

Born and raised in Liverpool, England, the son of Irish immigrants, Michael Snow began his professional music career in 1962 with the Merseybeat group The Barons, who recorded for Parlophone/EMI.

Moving to London in 1964, he joined West Five, scoring a chart hit with the early Jagger / Richards composition "Congratulations," after which his Irish roots showed briefly in a six-month stint with the prominent showband from Waterford, The Blue Aces (HMV Records).

As a London resident, Michael established himself as a freelance touring pianist/musical director with visiting R&B stars such as Doris Troy, Edwin Star, Ben E. King, and The Checkmates.

Michael joined The Checkmates as a full member in 1966, helping the band's transition to mainstream rock acceptance under their new name Ferris Wheel. Having tasted songwriting success composing Marmalade's first hit "Can't Stop Now" (CBS), he became chief writer/arranger on a string of popular European releases from Ferris Wheel, retiring from the band in 1969 to pursue songwriting and studio session work, while also serving as a music publishing manager for the world renowned Robert Stigwood Organization. During his period he contributed to works by, most notably, Dusty Springfield, Lulu, P.J. Proby, Badfinger, and a career highlight John Lennon's "Power to the People" (Plastic Ono Band.)

1970 brought international success as a writer of "Rosetta."

 "Rosetta" was a number one hit in nine countries in its original recording by Georgie Fame and Alan Price (CBS). "Rosetta" won the 1971 Ivor Novello Award (UK's Grammy), and was followed by numerous cover versions of the now classic tune, translated into nine languages.

1971-72 saw a return to concert work for Michael Snow with a 60-date tour as pianist with Chuck Berry, appearing on the much sought-after bootleg "Six Two Five," and hisChess single "South of the Border." Micheal also served as pianist and orchestra conductor on the solo debut tour of ex-Zombies lead singer Colin Blunstone, and also contributed to Colin's career highlight album "Ennismore" (CBS)

Reuniting with soul music legend Doris Troy, he worked on her George Harrison-produced album "Doris Troy" (Apple Records) and her subsequent live concert album "The Rainbow Testament."

 In 1973, Michael moved stateside, settling in Nasville, Tennessee, where he pursued songwriting, record production and stints as a publishing executive. During this period, his songs were recorded by Ray Stevens, Earl Scruggs, and Julie Andrews. At the same time, Michael Snow managed publishing for the legendary Bobby Russell ("Honey," "Little Green Apples," etc).

In 1986, Michael re-establshed his collaboration with Dr. Hook lead singer/songwriter Dennis Locorriere (pictured above), and the inception of his own recording studio and wholly-owned publishing compnay, Irish Eyes Music.

A long standing friendship with fellow Brit and guitar ace Ray Flacke (of the Ricky Skaggs Band and studio fame) led to Michael co-writing and co-producing Ray's 1990 solo instrumental album "Untitled Island" (Intersound), which was re-released in December on Pharaoh Records.

 In the Ninteties, Michael has returned more and more to his Irish roots. collaborating with members of the Brady Family both in concert and in the studio, producing County Tyrone songstress Elizabeth Reed, and leading the 8-piece contemporary Celtic band Ceolta Nua along with Elizabeth, Nanci Griffith drummer Patrick McInerney, and the cream of Nashville's young Celtic/American musicians.

Michael's expertise on bodhran, accordion, tenor banjo and vocals has been utilized to add the Celtic flavor to recordings by Robert Earl Keene, Gloria Loring, Canada's Leslie Schatz, Nashville folk artist Adie Grey, Cathryn Craig, (whose album "Porch Songs" was voted one of the top five country albums in Britain for 1996-97), contemporary Christian star, Michael Card, and the acclaimed CD "Celtic Passion = The Music of Roy Orbison."

Michael contributed six co-writes with Brian Willoughby to the Strawbs' lead guitarist's 1999 solo album "Black and White" (P.Y.O. Records, collaborated with Gloria Loring on "Invited To The Dance" for her CD "Turn the Page (Silk Purse Records), and rounded out the decade with a Locorriere/Snow tune (I Think I'm In Love) on the gold record "Dr. Hook-Love Songs" (EMI).

In 2000, Michael released "Here Comes the Skelly" (Irish Eye Records), the first volume of a trilogy reflecting the Liverpool/Irish experience in musical terms.

Snow teamed with Dennis Locorriere in Dennis' long awaited solo debut "Out of the Dark" (Track/East-West) which featured several Locorriere/Snow songs...and there was a spate of reissue activity. Sequel Records (U.K.) gathered all of Michael's mid-sixties output on Pye Records with Ferris Wheel and released the CD "Can't Break the Habit," while Telebender/Pharoah Records (home to the Hellecasters) reissued Ray Flacke's "Untitled Island."

The second volume of the Skelly trilogy, "The Rats and the Rosary" completed production in January 2001 and was released that spring.

Although immersed in the completion of the Trilogy during 2002, Michael also co-produced, M.D.'d and played bass and Hammond B3 on the album "Reckless Johnny Wales." Pictured left to right are Jeffrey "Skunk" Baxter (of Steely Dan and Doobie Brothers fame), Reckless himself, Michael and Pat McInerney.

The final chapter of the Skelly Trilogy "Never Say No To A Jar" was released June 9, 2003. And one thing leads to another....



I have many musical inspirations. The wind in the trees is a good place to
start, along with the music the earth is already playing. At this time in
my life, I prefer gentle melodic sounds played on Shakuhachi, antique
Native American flutes, bamboo flutes of all kinds, harp, zither, lute and
classical guitar. But also I am inspired by aggressive primal music
created by the human voice or traditional percussion and wind instruments
from around the world. Early American "roots" music has also always held
my interest. This, of course, covers many styles, but I feel one must keep
an open ear and mind, be willing and receptive to "happen" upon something
fresh that will enhance one's music. I enjoy allowing music to emerge
naturally with no preconceived assumptions or ego.


There are so many, but here are a few:
Terje Rypdal from Norway has had a big influence on music with
jazz overtones. I'll never forget the first time I listened to "Waves"
back in the mid 1970's. For me it was a real eye opener. Anyone out there
have a copy of "After the Rain"? I wore out three copies and can't seem to
find another.

Keith Jarrett - "Spirits" - Aside from the improvised primal music, the
liner notes of this recording became a musical Bible to me. I still go
back and take a long listen and look from time to time. Quotes like
"Musicians can and do fool themselves everyday when they say they are
'making music'. They mean they are playing their instrument very
well. This can be done by computers. What computers cannot deal with is
value-meaning." These liner notes have had quite an impact on how I
approach my music. If I can get my point across with one note or phrase,

Kohachiro Miyata - "Japan Shakuhachi, the Japanese Flute"...Wow!

Glen Velez - "Seven Heaven" with Steve Gorn and Layne Redmond. This
recording shows the incredible art of pure teamwork and discipline.

Tex Williams and his Western Caravan - "Vintage Collections" (circa
1946) Another recording that shows off teamwork and discipline. These
guys took no prisoners! American Country/Texas Swing/Jazz played like a
machine gun. Hot licks a plenty...these boys were tight. They don't make
bands like this anymore where every player was a monster! My parents had
the 78 record of "Smoke! Smoke! Smoke! (That Cigarette)". I used to play
it to death when I was a kid. I'm glad it's out on CD, and I listen to
this recording quite often.

R. Carlos Nakai - "Earth Spirit". I like all of Mr. Nakai's
recordings. This one, however, is a strong lesson in melodic
minimalism. In my opinion, it's a must have.

Coyote Oldman - "Rainbird/Return of the Anasazi Flute". It takes guts to
do something no one has done before, and this is it.  Michael Graham Allen
(Coyote Oldman) researched the ancient American flutes, measuring them,
recreating them, while teaching himself how to play them, all at the same
time. The Anasazi flute is a bit like the Nay or Shakuhachi, yet it is
unlike either one...a lost instrument from the Southwestern United States
for thousands of years. In this recording we hear it again for the first
time since it was lost to us. This CD is a ground breaker.

Laurie Anderson - "Mister Heartbreak"...true performance art music for
art's sake. Need I say more?


Always. They say a writer writes what he or she knows. I believe a
musician plays what he or she is feeling at any given moment. When bad
things happen to you and you play those feelings by expressing them through
your music, well, it's just plain common sense that you will feel better
after you let it go. Kind of like having a good cry. The process may have
to be repeated, but over time if you are one of the lucky ones, you will
feel better, even if only for a while. Memories are bittersweet.


I believe that sound can heal and I make music all the time to make myself
feel better. I play long low tones on one of my Shakuhachi flutes, a bass
Bansuri or sometimes on a long deep sounding overtone gourd flute from
Nigeria with only five tones. I close my eyes, quiet my mind and let the
flute play itself. I just listen. After a time I feel better. I can't
imagine why it would not do the same for someone else, performer or
listener. Sound is a powerful tool, and human beings have known this to be
true for centuries. Sound has the power to breed fear or relief. I have
seen music being used more frequently lately in hospitals, nursing homes
and other institutions for relief. This is a good trend and I can only
hope it continues to grow.

Peter Phippen is an innovative performer of ethnic flutes from around the world. Researching the performance technique and history of his vast collection of anthropological wind instruments ultimately led him to bring this knowledge to concert stages and schools. Since 1993, Phippen has performed concerts, workshops, artist residencies and assembly programs across the country that are both educational and entertaining - an enchanting mix of the very old and very new in music.

As a recording artist for Canyon Records, Phippen has released three CDs of original music. "Book of Dreams" (1996, CR-7031) was named #17 among the top national albums in the New Age Voice Magazine."Echoes of the Past" (1999, CR-7032) was a finalist in the Crossroads Music Awards for 2000. In January 2003, Phippen released "Night Song" his third recording for Canyon Records. Aptly named, its spare, haunting melodies, evoke dreamscape images of fading twilight and gentle slumber under a full moon. Phippen's recordings have received airplay on "Sacred World Music," "Atmospheres," "Music Choice," "Digital Music Express" and Public Radio International's syndicated show "Echoes." Phippen's song "Masked Dance" was chosen for the compilation CD "Songs of the Spirit, Vol. 2" released by Trilonka Records.

Experience Peter Phippen's timeless world of sound images through concerts, workshops, lectures, assembly programs and residencies. His educational and entertaining program covers the folklore and history of flutes from around the world and throughout time.



The early singers:
blues--Blind Willie Johnson, Ma Rainey, Bessie Smith, Alberta Hunter
Jazz--Chris Conner, Billie, Ella
Folk--Odetta, Josh White
Gospel--Mahalia Jackson, (and later) Mavis Staples
School choir directors (eg, Robert Commanday)
Playing music with friends
Guitarists: Pops Staples, Lightning Hopkins, Sandy Bull, BB King
Jazz: John Coltrane, Eric Dolphy
Harmonies: Sonny Terry/Brownie McGee, Carter Family, Bulgarian singing, the Band
Contemporary Musicians/composers: Steve Reich, Brian Eno, John Hassell, Jan Garbarek, Terje Rypdal, John Cage, Tibetan chanting, Philippine Kulintang music


“Voices”--a 3-CD set of voices from around the world
Steve Reich: “Different Trains”
Somei Satoh: “Madara Trilogy”
Mavis Staples: “Have a Little Faith”
Ai-Churek--a Tuvan shaman woman (shamama) throat singer
Bahia Black
Joy of Cooking


Eric Bibb, Rory Block, Michael Franti, Diana Krall, Rosalie Sorrels, Nina Gerber, Barbara Borden, Becky Reardon, Greg Brown. Laurie Anderson, Jim Scott, Oona G


Music brings me into my self. It has always been a true friend, a place to be in times of celebration, a harbor in hard times. My father died when I was 14. I picked up my guitar and mourned through music, wailing and moaning till I came out the other side (years of singing!).
Music ministers miracles. It lets you shake out your troubles and resonate down to the bone.
Music soothes the sorrowing spirit and brings joy to the downhearted soul. It can transmute the blues into ecstasy.

My own music has accompanied the course of my own growth. I learn from it even as the words tumble forth into song. I write spirit jingles to connect to the world through spirit; to empower and bring joy, to dispel fear, and create a magic spell of well-being. I believe that repeating a message gives it life and has the power to move energy and change lives. You take it into your bones and sing from the inside out. This is the resonance of healing.

Terry Garthwaite, with a voice both “sassy and touching”, has been creating infectious music since the ’70s in the Joy of Cooking band. With the improvisation of jazz, expression of blues, textures and tones of world music, and the heart of a healer, Terry makes music that opens you to the joy of living. Terry’s powerful music for body, mind and spirit radiates the healing nature of music and propels empowerment and delight. Her music is full of the kind of life-saving one-liners that come to mind in moments of crisis.

Her spirited recordings on her own nJoy Sounds label (“Affirhythms” and “Sacred Circles”) include positive chants to relax your mind and inspire your spirit--spirit jingles, original mantras for self-expression. She has recently completed a variety of books of her songs, including a book of vocal games and explorations (“Joy of Sound”).
Terry currently leads workshops, classes and circles in rhythm and chant, emphasizing the joy of singing together, playing with sound and digging the musical garden. She is an internationally known singer, songwriter, composer, producer, and teacher.

In performance, Terry has shared the stage with such artists as BB King, Janis Joplin, Bonnie Raitt, The Band, Allen Ginsberg, Rosalie Sorrels, and Santana at venues that include Carnegie Hall, the Joseph Papp Theater, the Hollywood Bowl, and Canadian Folk Festivals. She has produced recordings by other artists since 1979, including Ferron’s “Shadows on a Dime”, Rosalie Sorrels, and rhiannon. She can also be heard on folk recordings by Kate Wolf (“Treasures Left Behind”) and Nina Gerber (“Not Before Noon”.) 2005


* Your musical inspirations? 

 Mostly singers and musicians from the Highlands and Islands of Scotland - real tradition bearers like Iain MacDonald and his brothers Allan and Dr Angus, Mary Smith, Rona Lightfoot.  Also irish greats like The Bothy Band, Altan, Danu and Dervish.

* Favorite CD's, songs, or musicians? 

 Sgiath Airgid by Mary Smith, The First Harvest by Iain MacDonald & Iain MacFarlane, A' Sireadh Spors by Dr Angus MacDonald, Island Angel by Altan, Fhuair mi Pog by Margaret Stewart & Allan MacDonald and Faultlines by Karine Polwart.  Also love the Le Vent du Nord boys from Quebec!

* Has music helped you thru a difficult time in your life? 

It is part of everything I do.

Julie Fowlis is a singer and multi instrumentalist from the Outer Hebrides of Scotland who has been described as a “revelation”.   Her debut solo album was released in 2005 to critical acclaim – described as “excellent”, “fresh” and “outstanding” and has confirmed her one of “leading lights in a new generation of Gaelic singers”.

Julie grew up in North Uist, a small island in the Hebrides, in a Gaelic speaking community, and has been involved in singing, piping and dancing since she was a toot.

She is a member of the successful Scottish sextet, Dòchas, who were voted winners of “Best Newcomer Award” at the Scots Trad Music Awards 2004, where Julie herself was nominated as Best Gaelic Singer.  Having toured extensively, and after releasing two albums, Dòchas are widely considered as one of the most exciting and dynamic young bands in Scotland today.  It was only in 2005 that Julie released her debut solo album, which immediately launched her music career into an exciting (and hectic!) new direction.  Her good nature, natural charm and energy on the stage makes her a popular performer, and this is evident in her busy touring schedule, which included a prestigious Showcase concert at the Cambridge Folk Festival this year – Julie being the first ever Gaelic artist to perform at a Showcase slot.

Her eagerly awaited solo album, “mar a tha mo chridhe” or “as my heart is” was launched at the Celtic Connections Festival 2005, and includes performances from some of finest Scottish and Irish musicians around, including: Eamon Doorley, John Doyle, John McCusker, Ingrid Henderson, Allan Henderson, Kris Drever, Ross Martin, Martin O'Neill and Muireann Nic Amhlaoibh and the brave and talented Iain MacDonald, who co-produced the album with Julie.  The album has received exceptional reviews.

"This is an outstanding album of traditional Gaelic song from one of the most exciting young Scottish musicians and among the finest acoustic albums I have heard. Julie Fowlis's voice is fresh and unfussy...her singing is always beautiful and she excels too on a range of instruments: whistles, cor anglais and small pipes. Uist's song tradition has found an inspired interpreter in Julie Fowlis."


"...this excellent debut solo album confirms her status as one of the leading lights in the new generation of Gaelic singers...she has a lovely voice and her phrasing and accentuation of the melody lines is hugely expressive at any tempo."

- Kenny Mathieson, SCOTSMAN FRIDAY 28th JANUARY 2005

"The first solo CD from North Uist native Julie Fowlis...more than justifies all the feverish plaudits she's attracted since emerging as a vocalist with the band Dòchas....she imbues her skilfully varied selection of songs with a singular synthesis of freshness, depth, vitality and sinew."

 - Sue Wilson, SUNDAY HERALD 13th FEBRUARY 2005

Before any of this, Julie was already quietly making a name for herself as soloist.  In 2003, she was invited to be part of a special project “Gluaiseachd a’ Chuain Siar” which showcased singers such as Maighread and Triona Nic Dhómhnaill, Alyth McCormack, Mary Jane Lamond, Mary Smith and Julie Murphy.  She was also selected as part of the Celtic Connections “Master and Apprentice” series, where she performed with Arthur Cormack.  Julie's reputation as a singer was confirmed when she was named Winner of the prestigious Pan-Celtic Sean-Nos singing competition in 2004, which took place in Tralee, Ireland.

As well as appearing on numerous Gaelic Television Programmes such as Tacsi, Fàilte, An t-Urlar Ur, Air an Urlar, Ceòl, Ceòlraidh and Dè a-nis? Julie has also been involved in numerous musical commissions  - three by Mark Sheridan, The Curve of the Earth (performed at Celtic Connections 2002 and the Festival Interceltique de Lorient 2002), The Evangelists, which has been performed three times since 2002 and When They Lay Bare, an Opera Ballad which was performed over three nights in the Tramway Theatre at Celtic Connections 2003. She was also involved in Maggie's MacInnes' Commission, A Woman's Song in 2004 and in the musical settings of Sunset Song and Cloud Howe by Wendy Wetherby in 2004 and 2005, She will also be involved in the third commission of this trilogy, Grey Granite in Celtic Connections 2006.

Aswell as Dòchas, Julie is honoured to have performed with some of the finest performers from Scotland, such as Iain MacDonald, John McCusker, Cliar, Daimh, Mary Smith, Mairi McInnis, Maggie McInnes and Maighread Stewart to name but a few, plus some of Ireland's greatest musicians - Maighread Ni Mhaonaigh (Altan), Karan Casey, Micheal McGoldrick, John Doyle, Mick MacAulay (Solas), Maighread & Triona Ni Dhomhnaill and last, but definately not least, the mighty Danú   :o)

Julie continues to perform with Dòchas, and is now also busy performing her solo material at Festivals and concerts both at home and abroad.

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