Every Daughter of Danu is a multi-year cross-cultural arts initiative that brings contemporary indie-folk American singer-songwriters together with Irish musicians, storytellers, folklorists, and tradition-bearers to explore how women's voices in Irish mythology and folklore continue to illuminate contemporary questions of identity, creativity, resilience, grief, belonging, and gender.

FUNDING GOALS: hire both American and Irish musicians and storytellers to record a concept album, perform the work on a global tour throughout the US and Ireland, release and create a digital archive of filmed interviews and performances, with musicians, folklorists and mythology experts. Share the music and material in music halls as well as educational settings like schools, libraries and music workshop organizations.

Each of the 10 indie-folk songs in Every Daughter of Danu invites a feminine archetype of ancient Ireland to step into these unprecedented cultural and technological times and give us her perspective. Songwriters Heather Maloney and Hayley Reardon approach these stories with humility and respect, and their goal is to create a concept album that fosters cultural stewardship through collaboration. If funded, they’ll record their full-length body of work and hire Celtic musicians, storytellers, and keeners as featured performers on their original songs. Depending on resources, the project can expand to include a tour throughout the US and Ireland, studio footage, and filmed interviews with the musicians, storytellers and mythology experts.

Hayley and Heather hope to create an ongoing dialogue between contemporary songwriting and living tradition, ancient legends and modern storytellers. They hope to amplify the conversation as it explores themes of creativity, identity, grief, resilience, and belonging. They hope to draw attention to a historically suppressed folklore and mythology, brimming with goddesses, selkies, shape-shifters, banshees and other feminine archetypes that are still whispering profoundly relevant truths to whoever slows down enough to listen.

Songwriters: Hayley Reardon & Heather Maloney

Artistic coordinator: Susan Mckeown

Management / contact: Patty Romanoff patty@bulletproofartists.com

“I’ve been living in the stream / the pixelated dream / where everybody’s shouting underwater” -Boanne (The Knowing)

What happens when the ancient feminine archetypes of pagan Ireland are allowed to speak in the present tense?

That question led to a years-long conversation between indie-folk songwriters Heather Maloney and Hayley Reardon. In their deeply personal endeavor to write their way into an answer, their yet-to-be recorded concept album Every Daughter of Danu slowly and carefully came into being.

But Every Daughter of Danu isn't simply a collection of songs about mythology; it's a conversation with mythology.

As they began writing each song, Hayley and Heather found themselves in direct dialog with rule-breaking goddesses, banished banshees, exhausted shape-shifters, heartbroken selkies and long-forgotten keeners.

Over time, these characters who’d felt like distant myths began to feel more like close friends, and eventually, like mirrors. And in spite of being separated by centuries of change, their struggles with power, exile, love, grief, creativity, and belonging reveal themselves to be eerily relevant. Within each of their stories, Hayley and Heather found new layers of validation, inspiration and even some unexpected hope. They found secrets to carry, warnings to heed and roadmaps to navigate these unprecedented times.

As two American songwriters of Irish descent, Heather and Hayley entered into this project through the doorway of their shared questions about ancestry, artistic purpose, and what it means to create meaningful work in an era increasingly defined by speed, algorithms, and constant self-promotion. As two independent working-class women, they questioned their place in a monopolistic music industry and culture that favors youth and beauty over skill and substance. As two internet-age creatives, they questioned what we stand to lose as we steadily blur the sacred line between art and “content”, reduce human expression to “personal branding”, value product over process, and most recently, replace our societies artists themselves with ever-productive AI.

These questions led them back to stories too nuanced —too human— to be anything but. Back to stories that didn’t go viral or become a Tiktok trend, but rather, they endured quietly and steadily. And whether spoken or sung, those stories existed only in the moment of their telling, from the mouths of those who told them to the ears of those who heard them. All the way back to a time when stories depended on our being together.

And rather than generating a flood of AI slop to fill the uncomfortable void of life’s persistent questions, we moved slowly enough to feel those pesky questions, to weave them into the tapestry of our art and culture. And we slowly, patiently, lived our way into some beautiful answers, however flawed and incomplete. We wrapped those hard-won insights in stories and songs and handed them down carefully like heirloom treasures.

In direct contrast to the modern barrage of digital dopamine hits and constant stimulus, Ireland’s deep well of ancient stories persists not because it demands our attention, but because centuries of generations have drawn unshakable truths from it. And those truths aren’t spoon-fed, but rather they are gifts that we unwrap through our very living, our wonder, our heartbreak, and our conversation.

And Every Daughter of Danu is a conversation in every sense of the word.

It is a conversation between two songwriters exploring their ancestral heritage with curiosity, humility, and respect. It is a conversation between indie-folk songwriting and traditional Celtic music, bringing together contemporary artists with guest Celtic musicians, storytellers, and keeners whose voices carry living traditions forward. It is a conversation between ancient oral storytelling and modern songwriting, honoring the ways stories continue to evolve while remaining rooted in the communities that keep them alive. It is a conversation that is ongoing, open-ended, a dance between listening and expression.

With respect to the historical suppression of pagan Ireland’s culture and folklore, it’s important that this project be an opportunity to learn, celebrate and honor. As an oral tradition, much of its narratives in Irish mythology were vulnerable to heavy editing or even total erasure when they were first transcribed into written word by early Christian monks in the Medieval era. Many stories and characters have been completely lost, including, most poignantly, that of the mother of all gods and goddesses, Danu.

“All that holy water couldn’t douse such a fire” (Brigid, the other one)

Heather and Hayley approach this work not with a sense of ownership of these stories, but as descendants seeking a deeper relationship with a cultural inheritance through songwriting and collaboration with tradition-bearers, through shining a light on lesser-known feminine archetypes, through creating art that invites contemporary audiences to discover their enduring relevance.

Funding will support the recording of a full-length concept album featuring guest Celtic instrumentalists, storytellers, and keeners, allowing the project to weave traditional musical and oral practices into an original body of indie-folk songs. Collaboration is at the heart of this project and a part of its goal is to foster meaningful creative exchange across musical traditions.

Heather and Hayley accidentally-but-auspiciously began writing these songs on Samhain in October of 2024, and over the course of many songwriting sessions spanning several years, a pattern in the very structure of these songs revealed itself to them:

The verse and chorus generally contains the original myth or folklore, along with subtle hints of modern relevance. Later, we arrive at the bridge and see that it functions as an actual metaphorical bridge, where an ancient feminine figure is invited to cross fully over into our personal worlds. This is the moment the song truly invokes her, not as lifeless relics of the past but, but as a vivid, living voice with something important to say.

It’s often the moment where Hayley and Heather break the 4th wall as the narrator, speaks directly to the subject, reveals something deeply personal or appeals to her in a reverent, almost prayerful way.

In a cultural moment increasingly shaped by immediacy and endless streams of digital content, Every Daughter of Danu offers an invitation to slow down. It questions how art survives this technological age, and how we as artists survive patriarchal systems of commodification, exploitation, competition and dominance. It asks what goddesses and banshees would say if they could see where we are now. It keeps their stories in our mouths, it keeps the conversation going.

“I was just like the rest / Projecting my mess / On the walls, in the house of your myth” - Morrigan (More Again)

SONG DEMO CLIPS & WORKING LYRICS

***These are very rough clips intended only to illustrate the ways Heather and Hayley are using song to explore the themes and and illustrate their modern folk approach to this storytelling. Once funded, the sound engineering, production and collaborators will change the material significantly.

— BOANNE (Widdershins)—

(VERSE) Well, well, well, it’s a well that’s been on my mind / A well, well, well, with the whole wide world inside / It’s been hell, hell, hell, living under his high-noon eye / There’s a spell on the well for to quell my desire and I’ll

(PRE-CHORUS) Leave when the sun closes his eyes / Leave when he’s slipped all the way behind / Down under the quilted horizon line

(CHORUS) Boanne, Boanne, no ones showin’ you the way / But oh, when the knowing is callin’ you in / You just can’t stay, you just can’t stay / You’re made to be the river / And the bridge

(VERSE) A round, round, round, she is circling the well of the world / A round, round, round, widdershins as it swells and swirls / Down, down, down, seeds of the hazel like rain, they pour / And pound, pound, pounding, her heart as it’s bursting forth

(PRE-CHORUS) Leaving the walls that kept all underground / Leaping and sweeping her up to be drowned / Bursting the line between sky and ground

(1/2 CHORUS) Boanne, Boanne, the knowing is callin’ you in / You just can’t stay, you just can’t stay

(BRIDGE) I’ve been living in the stream, the pixelated dream where everybody’s shouting underwater / But you found a way to be both the swimmer and the sea / Floating in between one world and the other / Show me please, how to be, how to see, how to breath underwater, how to

(PRE-CHORUS) Leave when the sun closes his eyes / Leave when he’s slipped all the way behind / Down under the quilted horizon line

(CHORUS) Boanne, Boanne, flowin’, showin’ all the ways / ‘Cause oh when the knowing is callin’ you in / You just can’t stay, you just can’t stay / You’re made to be the river / And the bridge

— MORRIGAN (More Again) —

(VERSE) Your name on all their tongues / in a game of telephone / You can be anyone they want

(VERSE) Angel of prophecy / Raven of tragedy / Give all the glory in exchange for the blame

(CHORUS) Morrigan, Morrigan, how’d you end up on the floor again? / Morrigan, Morrigan, you give them all you’ve got, just for them to want more again, more again

(VERSE) Your face in all their eyes / you change it all the time / You can be their crone or their desire / You must be tired

(CHORUS) Morrigan, Morrigan, how’d you end up on the floor again? / Morrigan, Morrigan, you give them all you’ve got, just for them to want more again, more again

(BRIDGE-OUT) When I shift all my shapes, when I twist all my fates / Just to make, just to make all the content they crave / When I’m emptied all out, looking up from the ground / You’re nowhere to be found, you’ve already broken out / And I was just like the rest, projecting my mess / On the walls, in the house of your myth

— CELIA (Almost) —

(VERSE) Bewildered by the chill, were Celia’s tender limbs / Unfamiliar, was the kilter of the shore / Mysterious, to feel the mist come rolling in / She wakes beneath the looming cliffs of Moher

(VERSE) Entangled in the mangled strands golden hair / Amazed to trace the threads back to her skull / Surprised to find four hands entwined, and someone there / He carries her away into his world

(PRE-CHORUS) She comes to know it as her own / She calls it home, calls it home / She comes to think it’s all she knows / She should be whole, should be whole

(CHORUS) And it’s almost right / This almost her life / The stars are almost bright/ But it’s only ever almost and she can’t remember why

(VERSE) Hidden, was the skin of who she’d been before / But oblivious was she, to what she’d lost / So long, was it concealed behind a cellar door / Celia tried the latch but it was locked

(PRE CHORUS) She comes to know these empty bones / She calls them home, calls them home / She comes to think it’s all she knows / She should be whole, should be whole

(CHORUS) And it’s almost right / This almost life / The stars are almost bright/ But it’s only ever almost and she can’t remember why

(BRIDGE) Celia, I see ya in so many that I know / Celia how I feel ya in my own empty aching bones

(PRE-CHORUS) When at last she slips into her skin / The ocean calls her in again / And there she goes upon the wind / She’s getting close—diving in…

(CHORUS) And she’s almost right / This is almost life / The stars are almost bright

(OUTRO) And she’s almost done with almost done with almost done with almost

BRIGID (The Other One)

(VERSE) You came in a flame, sparked in the water / oh, unlikely daughter of the flood / You bloomed in a plume, billowing and wild / oh, the flower child of the mother of us all, mother of us all

(PRE-CHORUS) And you’d bring spring every year at winter’s end / With poems and paintings spilling from your open hands

(CHORUS) Where is the other Brigid? / Come back, come back / Who’s pure and who is wicked? / I’ll go back, go back to the well

(VERSE) Your name barely changed when they came to bury / the whispers of the fairies for the written word of man / You became another saint, a goddess undercover / all that holy water couldn’t douse such a fire, douse such a fire

(PRE-CHORUS) And your embers burned when all of the rest burned out / And the world kept turning with your heat turned down

(CHORUS) Where is the other Brigid? / Come back, come back / Who’s pure and who is wicked? / I’ll go back, go back to the well

(BRIDGE) I feel my roots in the ground / Reaching through, reaching down / Into the fire at the core / And then they reach out even more / Until they break through ancient soil…

— ODE TO THE OLDEN (Let Me Know Them) —

So much that I owe / That I owe, that I owe / An ode to the old / An ode to the Olden

So much I don't know / I don't know, I don't know / Locked away in my bones / In my bones, let me know them

For all I've forsaken / Forsake and forsake / In the home I've mistaken / They stir and awaken

With their names in my mouth / In my mouth, in my mouth / Calling out from within / Calling in from without

“Every time we got together to write, we found ourselves falling back into the same conversation again and again. It always seemed to unfold and circle back to the same shared question: how do we foster and protect our connection to the sacred in this exploitative, internet dominated, brand-driven time? We hope the songs themselves can live as little instruction manuals for how to engage with and let these archetypes grow with us and with the changes and needs of the world as we connect more deeply with our shared heritage.” - HM & HR

Morrigan (More Again)

Boanne (The Knowing)

Celia (Almost)

Brigid (The Other One)

Banshee (The Banned She)

Sheleigh, Sheila, Sheela (None of the Above)

Danu (Mother of Us All)

Deirdre of the Sorrows (Dear, Dry Your Eyes)

Maeve (Woman King)

Ode to the Olden (Let Me Know Them)

PROJECT GOALS:

Personal:

To learn about, honor, celebrate & amplify Irish mythology & folklore and identify the ways in which it apples to our modern lives in this internet age, specifically through the lens of the powerful feminine archetypes
To trace our roots, with deep humility and respect, ancestrally and culturally. In doing so, to highlight and strengthen our artistic values in these unprecedented cultural and technological times: art over “content”, process over product, community over competition, conversation over conflict, collaboration over dominance, humanity over commodity.
As storytellers who are interested in carrying the stories forward, carefully taking the artistic liberty of finding our own personal narratives that fill gaps in a mythology that was largely lost to historical suppression of pagan Ireland’s culture and folklore
To foster an ongoing conversation and collaboration between two cultures that are an ocean apart, and two ages that are technological worlds apart.

Artistic:

To spend a week+ recording all songs in a recording studio in the place that inspired them—Ireland!
To hire and collaborate with Irish accompanists, guest storytellers, keeners, vocalists and instrumentalists, both traditional and non-traditional
To film the “making of” the album, as well as interviews and conversations (conducted by Susan McKoewn) about each of the archetypes, how we relate to their stories as women, our personal stories of tracing our Irish roots, and the specific ways we’ve found modern wisdom in the ancient mythology
To release the album worldwide, rolling it out with visual art, music videos, live performance videos and other media content
To embark on a tour in the US and Ireland, ideally with a band of collaborators, guests, and a visual element to the production

SONGS WITHOUT DEMO CLIPS (COMING SOON)

BANSHEE (The Banned She)

(VERSE) In the brightness of the city, In the safety of these walls, We are whole—So we’re told / There’s a bounty for your hunger, There’s a numbing for your ache, There’s a bandage for the wound in you that never goes away / You should feel lucky you’re not out there, In the woods beyond the town, Where it’s cold—So we’re told

(PRE-CHORUS) And the moaning from the forest / The haunting from the deep —We can drown it out and hold our ears and lull ourselves to sleep / And she who we have banned, she is crying from afar / She who holds no rank within the order of the bards

(CHORUS) Ohhhh— There are so many words I don’t know / So many names for sorrow

(VERSE) But the day will always come, The day you lose someone, And you’ll know—In your bones / There’s no bounty for this hunger, No numbing for this ache, No bandage for the wound—you know it never goes away

(PRE-CHORUS) BUT the moment that you listen, with your ear against the wall / The ghoul becomes an angel and her screams become a song

(CHORUS) Ohhhh— Oh won’t you sing the words I don’t know / All the names for sorrow

Sprochtúil … cianaí … gruama …eadochas … brón …thamhain … Scíth …

***There are more words for sorrow in Gaelic than most other languages and they are all so beautiful—We’d like to have an Irish guest vocalist sing them on the outro here!

SHEILA, SHEELA, SHEILEIGH (None of the Above)

(VERSE 1) Were you the princess who fell for the thief? And was your royal heart stolen out on the sea? Was he a criminal, sun burned and bleached? And did this seafarer see a fairer face than Sheela’s?

(PRE CHORUS) Sheela—

(CHORUS) Nobody knows you, How your light flickers and bends / Everyone sees you / through their own piece of the lens

(VERSE) Were you the wife of a saint, his quiet counterpart? And is your unknown holiday on the 18th of March? There in his holy shadow, hungover you like a weight? And did you die in the dark on a long forgotten day?

(PRE CHORUS) Sheileigh—

(CHORUS) Nobody knows you, How your light flickers and bends / Everyone sees you through their own piece of the lens / Nobody holds you, we reach out, again and again / Nobody knows you, But you knew that we’d pretend (and…)

(BRIDGE) Is it all by your design? Did you scatter all the stars of who you are across the sky? Knowing that we’d constellate a thousand myths to know you by? Knowing that we’d never know? Knowing that we’d always try? (but…)

(VERSE) Of all the stories told under your umbrella name, I like the oldest one, where you’re no damsel, you’re no saint / You’re the one dancing, naked, in a city built of shame / You’re the one laughing blooming bleeding glowing breaking open changing

(CHORUS) Nobody knows you, How your light flickers and bends / Everyone sees you through their own piece of the lens / Nobody knows you, But you knew that we’d pretend to

DANU (Every Daughter)

(VERSE, WATER) There’s a mist from the mountains, Rolling down, Kissing with dew every inch of ground / There’s a wave in the ocean, Tossing ‘round, Every last ship is bound lto drown

(VERSE, AIR) There’s the breeze in grasses, Watch them sway, To an ancient breath touching every blade / There’s a gust on the prairie, spiral of grey, Swallowing all that’s in its way

(PRE-CHORUS) And she is always here / Coming in and out of view / She’s the Everywhere / That we’re dissolving back into / Every daughter of Danu

(CHORUS) Hark! The hidden angels singing / A part so quiet and persistent / Let me listen, let me

(VERSE, FIRE) There’s a holy candle, silent flame, Lighting every face the same / There’s a fire raging, Through the town, Ashes ashes, all fall down

(PRE-CHORUS) And she is always here / Coming in and out of view / She’s the Everywhere / That we’re dissolving back into / Every daughter of Danu

(CHORUS) Hark! The hidden angels singing, A part so quiet and persistent / Hark! the buried belles are ringing / A heart so present yet so distant / Let me listen, let me listen, let me listen, let me listen…

CREATIVE TEAM

HEATHER MALONEY

The Massachusetts-based “writer song-singer” Heather Maloney found music in the midst of three years at a meditation center, honing a sound moored in days of silent reflection and reverence for storytellers like Joni, Rilke, Ken Burns, and the anonymous authors of Zen parables. And while she eventually traded the quiet, structured life as a yogi for the kinetic life a touring musician, the core of her songwriting remains centered around same curiosity about our inner world and the desire to articulate it through storytelling. She now has eight studio album releases under her belt, each one marked by inspiring collaborations with musicians, songwriters and producers.

On Heather’s 2019 album, Soil In The Sky, her “ability to channel emotion is radical” (PopMatters) and the tracks are stacked with special guests who help her deliver an immense range of sound and sentiment in 12 songs; there’s a duet with Dawes front-man Taylor Goldsmith on the Walt Whitman-inspired love song “We Were Together”, an appearance by Rachael Price on the album’s opening track “Enigma”, and Jay Ungar lends his legendary folk fiddle to “Oklahoma Lullaby”, a song inspired by Ken Burns’ documentary The Dustbowl. (Ungar composed Ashokan Farewell in Burns’ The Civil War). The all-star band includes drummer Griffin Goldsmith (Dawes), and multiple members of the Amos Lee band.

The Bluegrass Situation called her 2015 release, Making Me Break (produced by Band of Horses’ Bill Reynolds) “an intoxicating blend that captures the sonic texture of indie rock, the humanity of folk and the spirituality of a Rumi poem.”

In 2014 she released “Woodstock”, her collaborative effort with Boston quartet Darlingside, which drew praise from the New York Times and Graham Nash.

Heather’s songs have played on NPR stations across the country and her live appearances have aired on syndicated programming like eTown and AudioTree. Her song “Nightstand Drawer” was used in the season finale of the CBS TV series "Elementary", and her songs have also been featured on a number of editorial Spotify playlists & Starbucks’ in-store nationwide playlists.

Heather has toured throughout the US & Canada as a headliner and also in support of acts including Lake Street Dive, Shakey Graves, Gary Clark Jr., Rodrigo y Gabriela, Colin Hay (Men at Work), Mary Chapin Carpenter, Shawn Colvin, Dar Williams and many more.

HAYLEY REARDON

Hayley Reardon is a critically acclaimed folk pop artist and a storyteller in the truest sense of the word. Her songs serve as postcards from an artist brave enough to take the road less traveled. The songstress made the decision to begin living life boldly when she left Nashville to tour the world playing her music. In addition to having recently been based in Dachau, Germany for a six month artist residency program awarded by the city, she has spent the past 5 years carrying her songs and guitar all over the globe -- gathering experiences, inspirations, and soulful connections along the way. The artist masterfully channels her colorful stories through music, capturing even the most subtle nuances of the human experience with a striking clarity.

Reardon recently made a splash with her single, “Losing From Within,” grabbing the attention of Spotify Editorial Playlists like Fresh Folk, Folk Pop, Morning Coffee, and Today’s Singer/Songwriters. Her latest EP, In The Good Light, was recorded in Barcelona with Catalan collaborators Pau Figueres (one of Spain’s finest guitarists) and Aniol Bestit Collellmir (recording engineer) at The Sound of Wood Studio. The EP embodies Reardon’s essence with a kiss of Spanish flair on certain tracks. The artist discovered a new piece of home in Spain while recording the EP, “It was amazing to travel across the world and work with people who were essentially strangers from an entirely different culture,” she says, “and feel so deeply and effortlessly understood by them.”

Raised in Massachusetts, Reardon dove head first into music at the young age of 15. She has now been honing her craft for a full decade now, sharing the stage with acts like Lori McKenna, Rodney Crowell, and Anaïs Mitchell, among others. Her raw artistry boasts a lyrical and melodic weight far beyond her years, being described as “brilliantly moving folk/pop with a lyrical depth and soul” (Performer Magazine) and “a melancholy little masterpiece” (American Songwriter Magazine). No Depression writes “Reardon is truly a treasure.”

SUSAN MCKEOWN

Grammy award-winning and BBC Award-nominated vocalist and songwriter Susan McKeown is widely acknowledged as one of the most powerful and innovative voices in folk music today. In a distinguished career has performed at Glastonbury, The Edinburgh Festival, Carnegie Hall and the Walt Disney Concert Hall and had her music featured on on PBS, NPR, PRI, BBC and RTE. Susan began her songwriting career at the Lower East Side club Sin-É and released 16 commercial albums as a songwriter and folk artist.

Susan is the founder and director of Cuala Foundation, a Lower East Side-based 501(c)3 nonprofit organization and its sister organisation in Ireland, Cuala Group, that co-creates new systems of community self care centering youth, migrants and indigenous culture. Since 2017 the organizations have produced cultural programs in communities in Ireland and the U.S. to heal trauma and cultivate a culture of belonging.

As the inaugural Music Network Ireland Musician-in-Residence at DLR LexIcon Library in 2018 she researched, wrote and composed songs about the lives of extraordinary Irish women whose stories were little known. She was commissioned by playwright Honor Molloy to write, compose and perform a song cycle for Molloy’s play ‘Round Room’ at Alchemical Theatre in New York in 2020.

The song ‘Everything We Had Was Good’ from Susan’s 2012 album Belong reached #1 on the American Folk Music Chart and the album itself reached #11.

On Singing in the Dark (2010 Hibernian Music), Susan invited collaborators to compose new music for lyrics by Roethke, Mangan, Sexton, Ní Dhomhnaill, and Gwyneth Lewis who were writing through the lens of depression, mania and addiction. The release prompted a symposium at NYU’s Glucksman Ireland House followed by an evening concert and conversation between Susan and Johns Hopkins Head of Psychiatry Kay Jamison, moderated by NYPL Director of Public Programs Paul Holdengräber at New York’s Symphony Space.

Songs from the East Village (2010 EVCS), a world music album for Manhattan’s East Village Community School, was conceived and produced by Susan, featured on NPR’s Weekend Edition, and raised $30,000 for the school’s arts and language programs.

An inventive arranger and producer, McKeown was nominated for a BBC Music Award for her arrangement of an English gypsy song which she recorded with the mariachi group Mariachi Réal de Mexico, and other creative arrangements have paired her emotive vocal delivery with Mali’s Ensemble Tartit and Mamadou Diabate, China’s Wang Guo Wei, Lúnasa, Flook and The Klezmatics, with whom she won a Grammy for Wonder Wheel: Lyrics by Woody Guthrie (2006 JMG).

She has received composer commissions from the Poetry Society of America and United Nations NGO Fourth World, for which she wrote and composed ‘Be Change’, a song inspired by the testimonies of people who were living homeless in Dublin that she performed at the United Nations in New York. With the poet Paul Muldoon, she is artistic director of Feis Teamhra, an annual festival of poetry and music at the ancient site of Tara in County Meath, Ireland. Hers is the woman’s voice singing on the audio recording in the Irish apartment of New York’s Tenement Museum.

susanmckeown.com

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Every Daughter of Danu (Ode to the Olden)