vered my five minute long speech, reflecting on my experiences at the university, thanking my professors and peers alike for inspiring me every day, and I tried to stress the importance of choosing a career as an artist at a time when it seems irrelevant to the surrounding world. The remainder of that summer was spent touring and performing all over France and The United King- dom. Due to a looming recession and cut of travel costs, I was paired with a Scottish Highland Dance Troop and several crazy Scottish friends for the tour. My sincerest apologies to my liver for those few months spent in creative and alcohol fused bliss! I never laughed so much in my life and I had no idea how a chance meeting in France would forever change my musical path.
I was backstage at a theatre in Lorient, waiting my turn for a sound check. At the last minute, I had been ad- ded to a program featuring female Celtic artists from around the world. The concert was called Chant Du Femmes, and I was the only American. I kept looking for a program to see what other artists were on the program, when I heard a beautiful voice soaring over the speakers in the dressing room. I froze in place when I realized whom it was. The voice was that of Liz Madden’s and the music was from the duo Rua, of which I was a big fan. I had been introduced to their music after a meeting with their record label when I was given one of their albums.
To add to the excitement, I I
remember my translator laughing at
could hear them rehearsing with Carlos Nunez, and the silly grin plastered all over my
face.
On my way to the stage, I crossed paths with Rua. My eyes met Liz’s first and we immediately star- ted introducing ourselves. I told her and her then partner Gloria how much of a fan of theirs I was, and how much I was looking forward to the concert that night. I was so impressed with their kind- ness and professionalism. They even stayed for my sound check and handed me a copy of one of their albums, which I still have today. Later that night, I was given the unfortunate news that I would be starting the concert. To make matters worse, my accompanist was having issues with his guitar and it looked like I would be starting off the concert acapella! So, while he was fixing his guitar, I made my way into the blaring spotlight, my stomach at my feet, and my body reeling with nerves. I really don’t remember my performance that night. I think I was so overwhelmed and revved up with adrenaline that I forgot to enjoy the experience and take it in. I do remember being called back for two encores and going back stage with a smile on my face. There, Gloria said “Brave Girl,” and all three of us laughed.
The next day, I left Lorient for Scotland and spent a few weeks traveling and performing through the Highlands singing my guts out, endlessly laughing, trying oysters for the first time, and falling in love with the country. I kept in touch with Rua and my pals from Ireland and Scotland. I received a lot of interest from major labels in the U.S. and the U.K. and was eagerly at work on my first solo album. As I got closer and closer to my dream
happening, a deal would fall through and I would find myself over the years being passed from ma- jor label to major label, producer to producer, crap manager to crap manager. No one could figure out what to do with my sound and it became more apparent with each passing day that the answers were overseas in Europe or the United Kingdom. So, in between meetings in Scotland and Ireland, I worked steadily as a choir director, music teacher, private voice and piano instructor, clinician, and
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