Bonnie Meadow

Bonnie’s mother wrote in her Baby Book that she was singing and dancing when she was eleven months old. They still can’t get her to stop.

Classically trained from a young age, Bonnie began her career as a classical guitarist and singer, and went on to play lute, recorder, piano and a handful of other instruments. The classical training was solid, but listening to the likes of George Gershwin, Cole Porter, Harold Arlen and Jerome Kern; going to see the hottest Broadway shows during the classic era of Broadway; immersion in ‘60s folk music and the life-altering rock music of the late ‘60s and early ‘70s all combined to emerge in a style that fuses these influences and yet is like none of them in particular.

Her lyrics are crafted with passion, humor and creativity. Her melodies will stay with you. (Management is not responsible for tunes that stick in your head).

Her songs tell her story, but though they are deeply personal their universality rings out. “Not a centerfold, but a woman you can hold” says her song “Just Like Me.” Her wry sense of humor comes through here and in her tongue-in-cheek “Pin-up Girls,” the daring “Hot Flash” and the lamenting “Human Condition.” She sings her heart out in “Falling Down,” the tale of a son whose life had “gotten ugly, it’s a tangle of sin” and in “Slow Exit” a song about her aging and diminishing mother, not the woman she remembers.

She hasn’t forgotten the convictions that shaped her in the ‘60s on marches against the war and for civil rights. She cries out in “The People” to remind the world that “... it’s not about the politics, the parties on the left or the right... it’s about the People.” She takes on the role of Earth Mother and laments the abuse heaped upon her by humans in “Earth Mother Blues” and an unusual, ethereal music-picture, “Earthspeak.”

Bonnie Meadow might just be the answer to the old saying: “They ain’t writing them like they used to.”