Go And Give The Guard A Break


Snow on the Waves


Chair Records 7" Vinyl Single



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After two critically acclaimed albums, opening dates with some of country and rock's top musicians, and appearances at some of the most storied venues across the country, Meghan Hayes has landed in Nashville to write her third record and lend her lyrical talents to other musicians.

Meghan has drawn on the musicians of Mary Chapin Carpenter, Son Volt, Roy Orbison, and many more to produce what the Washington Post calls "dramatic vignettes" that are a mix of "pop and country-tinged verve." According to the Hampshire Review, "Hayes follows that lineage that started with Emmylou Harris in the '70s of female artists -- singers and singer/songwriters -- in pursuit of Americana and intelligent, heartfelt insight."

She has opened for a diverse group of musicians, including Hal Ketchum, Tift Merritt, and Robbie Fulks, and has performed at venues like CBGBs (New York), The Birchmere (outside of Washington, DC), and Genghis Cohen (Los Angeles). Her first record, "Snow on the Waves" was called one of the ten best of 2000 (Arlington Journal) while her second album, "Go and Give the Guard a Break," was cited as one of top records at 2005's Los Angeles DIY convention. The release of "I'm Not Leaving" as a seven-inch vinyl single earned her a semifinalist nod in the 2005 Mountain Stage New Song contest and 2nd Place in the Mid-Atlantic Songwriter's Contest.

"Her music has been labeled everything from folk-rock, to alternative pop, to new Nashville," says Singer Magazine. "But it doesn't really matter what you call it; I call it good." PopMatters calls Meghan "a songwriter capable of sharp introspection and character examination... resting somewhere between the literacy of Aimee Mann and the mass market sheen of Sarah McLachlan." The Cumberland Times-News says "her work speaks for itself with sharp-witted Dylanesque lyrics, a potent attitude that feels like [Van] Morrison and poignant imagery reminiscent of Springsteen." On stage, Meghan is known for her "wry humor" (Washington Post), "bowling over audiences and critics alike" (Cumberland Times-News).

Not bad for an artist that, by her own admission, is just entering her prime.

"Both of my albums have been a search for my sound and voice," says Meghan. "I'm proud of the records, and owe major props to the reviewers who have been nice to me, but sometimes you just know, deep in your gut, that you're about to hit on something really special."

And what will Meghan reveal with her next batch of songs?

"They are coming in two very different waves," Meghan says. "One set are definitely songs that I'll record, probably sometime in 2007, for my third record. These are story-based songs, lyrical, but not as overtly poetic as what I've written in the past. But definitely melodic and twangy. The second batch are just as good, I think, but I've been writing a lot of these songs with other writers and I expect they'll be better for other performers."

For a hint about the direction of her next record, it makes sense to turn to "A Birthday in a Pawnshop (Morristown)," a track Meghan recorded in July 2006 for the Americana compilation "The Other Side: Music From East Nashville." Both sparse and sweeping at once, "Morristown" is an ode to a lost family in a lost town, with a dark, surprising twist at the end. The compilation features notables such as Todd Snider, Elizabeth Cook, and Last Train Home.

Meghan grew up traversing the United States and Europe - she moved 18 times in 18 years -- and began writing and performing as a way to combat her travel fatigue. Seeking a break from her nomadic early years, Hayes attended Swarthmore College, where she studied English and ecology. It was also wear she wrote earned her stripes a poet, which would so influence many of her early songs.

To support her first album and early tours, she tried her hand at everything from tree surveying to environmental law to landscape design. It was when Meghan was lying on her back in an operating room in Ireland in 2001, after being kicked off her flight back to the US after a bad case of food poisoning, only to be told her she needed to have her appendix removed (which the doctors did... unnecessarily), that she decided to quit her odd jobs and become a full-time musician.

In early 2006, Meghan moved from Arlington, Virginia to Nashville. Meghan's songs have been played on stations across the country and satellite radio. Her second record was a top ten on Twangcast's Texas Music Chart. Internationally, she has been featured in Belgium's esteemed "Rootstown" magazine and on "Roots Revival," Belgium's Radio American radio.

The Daily Vault might sum it up best: "Meghan Hayes is a prodigious talent, both an imaginative, original songwriter and a singer with a gift for wrapping her voice around a song."

Discography: "A Birthday in a Pawnshop (Morristown)," new track appearing on Americana compilation "The Other Side: Music From East Nashville" (CD, Red Beet Records; 2006). "Go and Give the Guard a Break (CD, Cranky Heartburn Music, 2005); "I'm Not Leaving" (7" vinyl single, Chair Records, 2005); Snow on the Waves (CD, Cranky Heartburn Music, 2000)

-- written by Amy Taylor


Minor 7th Short Takes

September 1st, 2005
Meghan Hayes takes the listener on a tour of pre-New Wave American music, with a mix of styles from singer/songwriter ("The Brighter They Come," "Tin"), to guitar-driven rock ("Voice Like Mine"), to shades of Bacharach ("Branson"). "I'm Not Leaving," the best cut on the CD, is a terrific opener, with emotional impact and a hook ("I am not leaving, I'm just not coming back") you'll catch yourself repeating later. Hayes performs a nifty trick with another key line, turning "It won't help to keep it open/Not the slightest little crack" so it refers to a heart as well as a door. In fact, the turn of phrase is one of Hayes' strengths; the album abounds with good examples: a room where "the smoke is fat and the lies are thin," "the saddest pearl that's been fed to swine," "the brighter they come, the darker the fall." An intelligent effort with ambitious reach.
-- David Kleiner


The Bargain Basement: Reviews in 15 Words or Less

June 1st, 2005
Alan: Laid-back rootsy AC rock with brilliant vocalist. Excellent lyrics, very well-produced, catchy tunes - and on key!

William: Joan Baez electric. She can sing and write, the band can play. Better than we deserve.

Charles: Country rock fusion gumbo done well a la Jane Siberry meets Deana Carter.
-- The Bargain Basement


CHT Reviews

June 1st, 2005
This is Ms. Hayes' sophomore CD, following the quietly successful "Snow on the Waves." Although this is my first exposure to the Arlington, VA-based songwriter's music, this is one of those CDs that makes you feel like you have known the artist forever. It's like reconnecting with someone you went to high school with and haven't seen in a while: it's new and different yet also familiar on some level. Hayes seems to struggle a little bit to find balance on this album though. The songs jump back and forth a bit; it feels like she knows what she wants stylistically from each one but she can't always get them to work together as an album. The uptempo "Desert" is one of the strongest tracks and is certainly proof that she's an artist to keep your eye on. The off-kilter "Constantine" is probably my favorite though. It has a sort of uncomfortable feel to it that totally intrigues me. If you are a fan of mid-tempo full band singer/songwriter music with a heart as big as Texas, then check this out.
-- Mark Fisher


Singer Magazine - Vol. 33

June 1st, 2005
For a moment, I thought I was listening to a new Natalie Merchant CD when I popped in Go and Give the Guard a Break, from Arlington Virginia's Meghan Hayes. Her music has been labeled everything from folk-rock, to alternative pop, to new Nashville. But it doesn't really matter what you call it; I call it good. She's got a little rock in her, a little country, a little folk, but mostly a lot of spunk and spirit. Meghan's relatively new on the music scene but she is far from a beginner. She began writing and performing as a way to combat travel fatigue as she traversed the U.S. and Europe as a youth. Environmental Law and Landscaping Design were not enough of a profession to keep Meghan's interest. Her passion to perform drew her back on the road and found her in the middle of a music career complete with a backpack of CDs chock full of riveting songs and powerful music. In 2004 she was runner-up in the Mid-Atlantic Songrwriter's Contest and Go and Give the Guard a Break was cited as one of 2005's best records at the DIY convention in Los Angeles. I'm most fond of the lead track, "I'm Not Leaving."
-- Greg Tutwiler


The Daily Vault - Indie Friday Guest

May 13th, 2005
You never know what it is about an artist that's going to catch your interest. Yes, in her cover note Meghan Hayes revealed we're both Springsteen fans, but what most piqued my curiosity about this album initially was the name of Hayes' music publishing company. Cranky Heartburn Music? Okay, this one's gotta be worth a listen or three.And so it is. Hayes is an Arlington, Virginia-based singer-songwriter who blends a variety of styles together to create one that's all her own. Take Mary Chapin Carpenter-style country-folk introspection, spice with early Sheryl Crow gritty-pop, fold in the musical eclecticism and oblique lyrics of a Suzanne Vega, and you have the intriguing jambalaya of sounds Hayes fuses together on this, her sophomore independent release.

It's a disc full of songs that feel simple on the surface but grow more complex and full of shadings with every listen. Kickoff track "I'm Not Leaving" -- an appealing, upbeat slice of acoustic country-folk that features piano from longtime Carpenter bandmate Jon Carroll -- feels at first like yet another clever kiss-off song ("I'm not leaving / I'm just not coming back"), but ends up leaving the door wide open for other interpretations.

This trend of obscure meaning layered over bright, interesting arrangements continues throughout the rest of the disc. I won't even pretend to understand what "Constantine" is about, but I know good poetry when I hear it, and the choice to embellish this mid-tempo number with flugelhorn is brilliant. Similarly, the meaning of the words to the meditative "Three O'Clock" is unclear to me, but the use of accordion to lend warmth to its generally somber tones is perfect.

"Nothin' Doin'" is one of the more straightforward cuts here, a song about a night on the town with a friend in which they seize the moment by simply enjoying each other's company. It features an upbeat, somewhat country-rock arrangement and a catchy chorus: "Nothing is the only thing worth doing tonight / Nothing's the only thing that's right."

For more evidence of musical variety we turn to "Voice Like Mine," whose funky, percussive opening section bursts out into a straight-ahead rocker. It actually sounds a bit like the Go-Gos in their prime, if you manage to ignore the fact that the lyric is a bizarre collage/barrage of disconnected images and clever rhymes, punctuated by a blistering guitar solo.

Down the line we find other notables in "Branson," an amusing laundry list of second-rate vacation spots leading into the punchline of "Take me to Branson"; "Four Tables And A Chair," whose r&b/hip-hop rhythm track bounces along under lyrics that read like an odd poem and Hayes' distinctly Tuesday Night Music Club Sheryl Crow vocals (favorite line: "I strain for what you say / You get more done when you mutter"); and the closing "The Brighter They Come," a poignant acoustic number about a woman in love with a man with a habit.

Go And Give The Guard A Break -- whose unwieldy title is taken from a line in "I'm Not Leaving" -- is a great introduction to Hayes' original and appealing style. Meghan Hayes is a prodigious talent, both an imaginative, original songwriter and a singer with a gift for wrapping her voice around a song. Highly recommended, cranky heartburn and all.
-- Jason Warburg


Roots Music, Pop and a Twist of Dylan - Hampshire Review

April 13th, 2005
Meghan Hayes brings an inviting voice, often with a Dylanesque swagger and lyrical twist, to her 2005 release, "Go and Give the Guard a Break."

The title of Hayes' new CD comes from a line in the opening track, "I'm Not Leaving," a great little breakup song (at least that's what it appears to be on the surface) with the choice comebackGo and give the guard a break/He'll never get what I won't take/I'm not leaving, I'm just not coming back.

As with Dylan, a closer listen brings some pondering. Is it really about a romantic relationship that has reached the point of no return? Or, is it about moving on in life?

Either way, the lyrics seem to indicate something more is happening here... You always skip before you run/I'm not why you came undone.

Hayes follows that lineage that stared with Emmylou Harris in the '70s of female artists -- singers and singer/songwriters -- in pursuit of Americana and intelligent, heartfelt insight.

Actually, after a listen to "Go and Give the Guard a Break," it's an easy stretch to say that Emmylou could easily show up as a guest vocalist on Hayes' next studio release -- it is of that caliber -- and their two voices would make for some powerful harmony.

The 11 original songs on "Go and Give the Guard a Break" grab the listener's attention the first time around -- a nice touch in today's throwaway song world.

Standout cuts include "Nothin' Doin'," "Four Tables and a Chair," "Branson" and "Constantine."

Nothin' Doin' and Four Tables are friendly, gentle rockers that seem to offer a hint of Sheryl Crow.

Branson offers the view of possibly one too many days and nights on the road punctuated with sunny pop music moments fired by trumpet player Steve Eisen.

In its own subtle way, Constantine seems to be the lyrical, emotional and production high-water mark of "Go and Give the Guard a Break."

For Hampshire County music fan, Hayes' April 15 concert in Romney -- this Friday night at The Bottling Works -- holds one of those rare opportunities to experience a talented singer/songwriter in an intimate acoustic setting, while at the same time picking up her CD and checking out the top-notch studio versions of her songs.

David McKittrick, who shared production credits with Hayes and lent his tasteful guitar work on each cut of the new CD, is scheduled to join Hayes for the Bottling Works show.

All that. And, the possible historical note of saying, "Oh, yeah. I saw Meghan Hayes in '05 right when she started turning heads."
-- Michael O'Brien


Rising Star: Meghan Hayes in Concert April 15

April 13th, 2005
Performers Studio is bringing up-and-coming singer-songwriter, Meghan Hayes, to the Romney Bottling Works on Friday, April 15 at 8:30 p.m.

Hayes has been playing to standing room only crowds from Philadelphia to Los Angeles, and The Washington Post describes her as "...an engaging songwriter," her lyrics "lean and vivid" with "wry humor."

Along the way, she has shared the stage with major label acts and gold record-sellers such as Freedy Johnston (Elektra), Tift Merritt (Lost Highway), Amy Correia (Capitol), Jeffrey Gaines (Artemis) and many more at venues like the Birchmere, Tin Angel and State Theater.

Music pros such as Mary Chapin Carpenter bandmates John Jennings and Rico Petruccelli contributed to her debut record "Snow on the Waves."

On her latest, 2005's "Go and Give the Guard a Break," Hayes continues to offer up her "soulful soprano" and cut-above original songs.

The man behind Performers Studio, Larry Brown of Romney, recently conducted an interview with Hayes.

The following are a few excerpts from that interview:

Your new CD, "Go and Give the Guard a Break" is an impressive work, how'd the project go?

Hayes: Putting together a CD is like pulling teeth, only worse. I am lucky enough to have an amazing band and the best producer in the world, along with a very patient engineer and recorder (all of these being Dave McKittrick), but I am too close to the recent process to even want to talk about it... it's the hardest work I've ever done, and I'm still crying little tears of pain over the process.

How did you come up with the title for the CD?

Hayes: It's a line from the first song "I'm Not Leaving"... I've been alone for so much of my life, and I've been on the outside looking in, and whether I was aware of it or not, I've always had to protect myself. But now, I have days where there's a little bit of peace. Sometimes I get that feeling like you do when it's the first days of spring and the world seems softer and so it's like, "let down your guard, babe!"

Weren't you out west recently?

Hayes: I spent a few weeks in January and February on the West Coast touring and it was such a great experience. I forget just how generous and curious people are. I met some amazing folks out there, including Amelia Ray, who is a phenomenal songwriter, and found it to be really a boost to meet new audiences and other musicians.

Ray is scheduled as the opening act for Hayes at the April 15 concert in Romney.

The Bottling Works concert is free and donations are appreciated. An open mic session will be held after the concert.

Performers Studio is sponsored by LD Brown Arts in cooperation with the Loy Foundation.
-- Hampshire Review


Smother.net - EDITOR'S PICK

April 10th, 2005
Fellow Virginian (and might I happily add fellow liberal!), Meghan Hayes rocks out with smart and upbeat melodies on her new album. Don't fret if you're a conservative, this isn't an album trashing your ideals-- that would be too easy-- instead this is a personal adventure and journey that Meghan allows us to tag along on. Her voice is pop-rock quality but the music and sincerity is pure DIY indie rock. Right on sister, you've got a whole lot going for you and I imagine not much stopping you. It's great to know such good artists are right around the corner from you.
-- J-sin


OnTap Online

April 1st, 2005
Within five seconds of listening to "Desert," the second song on Meghan Hayes' sophomore release "Go and Give the Guard a Break," I found myself in a daydream, driving a car with the windows down through the deserts of the Southwest. The melodic, driving beat of the song almost surrounds you, and I swear I felt a desert breeze. Hayes knows how to suck you into her songs. And although she does it while embracing her alternative country background, she's not afraid to mix it up and bring out the distorted guitars and heavy bass lines in rock songs like "Voice Like Mine."

The only noticeable problem on "Go and Give the Guard a Break" is Hayes' choice in lyrics. At times they're a little too basic with simple rhymes and borderline clichés like in "Voice Like Mine": "Why didn't you come for me? Why didn't you ever call? There are things in life that are free. There are things in life you can't have at all." Hayes is on the right track, regardless of rhyme scheme, and I would recommend this album for any alt-country fan. The catchy music and vocal melodies provide plenty of reason to sing along.
-- Mike Addabbo


Meghan Hayes Consistently Challenges Musical Genres - Centre Daily Times

April 1st, 2005
Some musicians defy classification. They cross genres and mix styles with abandon. Somewhere at the intersection of rock and country, you'll find singer-songwriter Meghan Hayes.

Hayes' songs play like rock, but her voice is filled with the unpretentious honesty of country; think Mary Chapin Carpenter and EmmyLou Harris. But where some musicians give you the impression that they're trying a new style the same way they'd try on new hat, Hayes is consistent in her indefinable style, and it's a sound that suits her perfectly.

It's understandable that her music walks the line between genres given that she counts artists as diverse as Van Morrison and Eminem among her influences. For Hayes, the most important part of songwriting is telling a story and capturing the essence of person she's writing about.

"I think my taste in music is pretty wide. I love blues as much as I love blue grass," Hayes said. "I love people who tell a story. (Singer-songwriter) Lucinda Williams is practically my idol. She's an amazing storyteller. She can tell a story in three words."

On her first album, "Snow on the Waves," Hayes told stories about her nomadic childhood, spent shuffling across the country between her mother's home and father's home. On her latest release, "Go and Give the Guard a Break," she turns her attention to the people she's met in her 10 years living in the Washington, D.C., area.

"('Go and Give the Guard a Break') is about what happens when you get to be around people for more than nine months at a time," Hayes said.

Knowing that, it's impossible not to wonder about people who inspired the at-times unflattering character sketches on the album. There's the obsessed lover in "I'm Not Leaving" (from which the album's title is taken), the master of self-deception in "Desert," and the lost soul in "Three O'Clock." Of course, it stands to reason that troubled people who make questionable decisions are more interesting songwriting fodder than, for instance, a perky lottery winner. Hayes herself is the "little lady with the microphone saddled with a default loan" from the song "Four Tables and a Chair" -- reference to the fact that she has self-produced both of her albums.

Despite the fact that she's recording without the backing of a recording label, she does have backing from some very accomplished musicians. The tight-knit music community around Arlington, Va., has been supportive of Hayes. The new album features work by guitarist Brad Rice (Ryan Adams, Whiskeytown), Paul Wood (Phaser) and Jon Carroll, keyboardist for Mary Chapin Carpenter and a founding member of the Starlight Vocal Band -- that's right, of "Afternoon Delight" fame.

"Jon Carroll came into the studio and he had arranged five of the songs," Hayes said. "I had been hoping that he might do one song. So then I was in this really awkward position of having to tell him that I hadn't planned on having him on these other two songs."

The result of her collaboration with outside musicians and songwriting help from members of her touring band, the Cranky Heartburn Band, is an album that doesn't sound at all homemade. It pairs the sheen of polished production with the heartfelt edginess of Hayes' lyrics.

Hayes said she doesn't expect to become a millionaire making her own music, but she does think she can make a living. After listening to "Go and Give the Guard a Break," that certainly seems like a reasonable goal.
-- Michelle Isham


The Washington Post

March 18th, 2005
Singer-songwriter Meghan Hayes often leaves a lot of things unsaid, inviting everyone to read between the lines, not unlike some of her influences, notably Bob Dylan. Clearly, she'd rather have us sort things out ourselves.

Which is why "Go and Give the Guard a Break" is far more intriguing than your average batch of tunesmith musings. Beginning with "I'm Not Leaving," about a relationship that appears to be hanging by a thread, Hayes constructs dramatic vignettes that beg the same question: How did these people get here? Hayes offers some clues now and then, but it'sup to listeners to imagine the prologue for this sad ballad or the emotional back storyfor the similarly well-crafted songs "Desert," "Three O'Clock" and "Voice Like Mine." An exception is "The Brighter They Come," in which Hayes begins with a verse that points at the pain to come: "The first time that you met him you knew that you'd never leave / You still don't know what that boy had up his sleeve / There was a needle on the record and another in his arm / The brighter they come, the darker the harm."

Though her songwriting is uniformly lean and vivid, Hayes isn't always mining misery for material. "Branson," an offbeat interlude, displays her wry humor. What's more, Hayes and her bandmates, including guitarist Dave McKittrick and keyboardist Jon Carroll, frequently punch up her songs with pop and country-tinged verve. Still, the basic appeal is in the sorrowful details here, spoken and unspoken, and in the sound of Hayes's soulful soprano.
-- Mike Joyce


Reviews of Snow on the Waves

September 1st, 2001
... So, what kind of music does [Hayes] write? You could say alternative country. You could also say alternative pop. New Nashville? The Austin sound? Lucinda Williams meets Alanis Morissette? No, I know, Blink 182 gets a pedal steel guitar. In the end, you settle for just one answer: Meghan is, well, Meghan. Her songs rock and they roll and they stand out there all own their own. From the ballad Airborne to the toe-tapping Get Off On A Dare to the backward Four Tables And A Chair, she can belt when she has to and whisper sweetly when it's right. And, while she can shake a rafter or two, she doesn't go for overkill and very deftly uses just the right amount at the right moment to evoke the power of the lyric. (The Review September, 2001)

...Her rockers are winning, toe-tapping affairs, but it's on the soaring, emotionally-fraught ballads that she really earns her keep. "Citadel" is a sojourn in "the wettest town I ever lived in," "a pan/looking for a flash"; the eerie, 50-year melody and somber cello underpinning of "Debt to Love" could have made a career for some aspiring Judy Collins 40 years ago, when careers were made by songs and not by stylists and paparazzi. (Punmaster's MusicWire July, 2001)

...Many homemade albums sound like it, but Meghan Hayes's "Snow on the Waves" isn't one of them. That's not just because the Arlington singer-songwriter was assisted in recording these 12 originals by such pros as Mary Chapin Carpenter bandmates John Jennings and Rico Petruccelli; Hayes may not have major (or even minor) label support, but she has a mature style and a confident voice. Both are well showcased on such songs as "Sweet Go- Between," "Airborne" and the title tune. (The Washington Post December, 2000)

The Arlington, Va.-based singer-songwriter's debut smartly answers the question, "Is there life after college?" Look for Hayes and Her Cranky Heartburn Band to become a fixture on the local scene. (The Arlington Journal "The Top Dogs of Y2K Albums" December, 2000)... an engaging songwriter with lyrics cryptic enough for you to put your own meaning onto her stuff, but direct enough to tug at your emotions. Keep and eye (and a couple of ears) on this one. (The Washington Post October, 2000)




Bluebird Show

July 8th, 2009
Meghan will be joining Lani Nash, Ashley McBryde, and Matt Martino at the Bluebird Cafe on Friday, July 31, 2009 at 6 pm.

Be sure to visit the Bluebird's website to reserve a seat-- it fills up fast!
Read More


Yuletide from the East Side to be released

November 28th, 2007
Meghan's latest ditty, "Kosher for Christmas," will be released on Red Beet Record's Yuletide from the East Side: More Music from East Nashville, on Thursday, November 29, just in time for the holidays. Stay tuned for more info...


Last-minute show added

April 24th, 2007
Meghan has been invited to play the Corner Music Writers Night at Edgehill Studios Cafe (www.edgehillstudios.com). Show starts at 7 pm


Happy Easter!

April 9th, 2007
The Easter Bunny came out of his cave yesterday, saw his shadow, and declared that spring is certainly trying to make an appearance. In other news, Meghan and her Cranky Heartburn Mountain Trio are pleased to announce that they'll be playing East Nashville's Family Wash on May 17. Be there with eggs on?
Read More


Signs point to rock

January 1st, 2007
Meghan will be backed by an all-star band Thursday, January 4, 2007 as she plays a set for "Joe Rathbone... in Company" at Nashville's Radio Cafe. Meghan will be on the bill with Mr. Rathbone (www.joerathbone.com) and Mare Wakefield (www.marewakefield.com), and her band will include Rob Price, Sergio Webb, Michael Samis, and Chris Scruggs.


East Nashville Compilation CD to be released

October 19th, 2006
Lock up your daughters! Red Beet Records is having two, count 'em TWO concerts to celebrate the release of The Other Side: Music From East Nashville.

This two-CD (is there a theme here?) compilation features the musical stylings of local luminaries such as Todd Snider, Paul Burch, Elizabeth Cook, Garrison Starr, Eric Brace, and many many more. It also includes a brand spankin' new song by Meghan Hayes, entitled "A Birthday in the Pawnshop."

Release concert numero uno takes place Friday, October 27 at The Basement. Concert deux will be on Saturday, October 28 at The Family Wash. To make this even better, all proceeds from the CD go to benefit the Martha O'Bryan Center of East Nashville.


Quadruped Problems

December 1st, 2005
Meghan emerges from hibernation to yell at fat, festively costumed man and his quadrupeds, who were really making such a clatter. Crawls back into studio to write some more.


Opposum Scandal

November 1st, 2005
Opposum scandal blows up. Meghan goes underground, citing heavy workload, excessive media badgering. Braves the elements and paparazzi only in order to play several live shows.


Meghan Opens For Hal Ketchum

October 1st, 2005
Meghan opens for the legendary Hal Ketchum at the Birchmere!


2005 UK Songwriting Contest

August 1st, 2005
Meghan's songs "I'm Not Leaving" and "Voice Like Mine" are selected as SEMI-FINALISTS in the 2005 UK Songwriting Contest!


I'm Not Leaving

June 27th, 2005
Meghan's song "I'm Not Leaving" comes in 4th in the American Songwriter July/August 2005 Songwriting Contest!


Mountain Stage NewSong Contest

May 1st, 2005
Meghan named semifinalist in Mountain Stage NewSong Contest!


Praise From The Press

April 1st, 2005
Pennsylvania, West Virginia press hail Meghan as a "rising star".


The Washington Post

March 18th, 2005
The Washington Post compares Meghan favorably to Bob Dylan and calls "Go and Give the Guard a "Break" "far more intriguing than your average batch of tunesmith musings".


2005 DIY Music Festival

February 1st, 2005
"Go and Give the Guard a Break" wins honorable mention in 2005 DIY Music Festival.


Go and Give the Guard a Break - Advance

January 3rd, 2005
Advance copies of "Go and Give the Guard a Break" now available on this site.
(See Left Panel)


I'm Not Leaving - Advance

January 1st, 2005
Advance copies of Chair Records' 7-inch vinyl of "I'm Not Leaving" now available on this site.
(See Left Panel)


I'm Not Leaving - Vinyl

December 3rd, 2004
Chair Records announces that it will release "I'm Not Leaving" on 7-inch vinyl. The B-side will be a re-mix of "Brigher They Come".


Mid-Atlantic Songwriting Contest

November 15th, 2004
"I'm Not Leaving" named one of the top songs in Mid-Atlantic Songwriting Contest.