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Another career highpoint followed in 2001 with the release of her third CD, Don’t Get Me Started, on Dog-Eared Discs, when Kate performed at the folk world’s premier event, the legendary Newport Folk Festival. In 1999, Kate appeared on the internationally syndicated “World Cafe” radio show and performed at the Kennedy Center in Washington, D.C. Folk radio airplay and fellow musicians helped spread her name: Jonathan Edwards called her “one of the premier female solo acoustic acts around,” and Bill Staines dubbed her “one of the finest writers and performers I’ve heard in a long time.” Kate’s first of seven European tours to date came in 1998, coinciding with the release of her second album, the appropriately titled Next, on Waterbug. More gigging, acclaim, and recordings were to follow. The CD was praised in prestigious folk periodicals – Sing Out! called her a “strong vocalist and guitarist outstanding ability to write excellent first-person songs,” and Dirty Linen described Broken Bones as “a striking showcase for her skills as a songwriter and performer” and called Kate’s voice “flexible, adventurous and moving” and her songs alternately “playful. In 1992, she released her self-produced debut album, Broken Bones, on her own Dog-Eared Discs label (reissued by Waterbug in 1994) and was voted the #1 singer-songwriter in New Haven in the New Haven Advocate’s poll. In 1989, Kate started writing her own songs and, not coincidentally, began racking up serious critical recognition in the early ’90s, when she was named a New Folk Finalist at the wellknown Kerrville Folk Festival in Texas and a finalist at the Falcon Ridge Folk Festival Showcase in New York State. Kate also found time to join an all-female trio, Colossal Olive, which gigged in the New Haven area. McDonnell-Tane cut two self-released albums in their 3-1/2-year career and opened shows for touring stars such as Bob Dylan, Willie Nelson, Judy Collins, Arlo Guthrie, Leo Kottke, and Kathy Mattea. After a four-year sabbatical from performance in the mid-’80s, during which time she moved to New Haven, CT, and worked at editing and AIDS social service jobs, Kate returned to music by partnering with guitarist Freddie Tane, at one time a member of Bill Haley’s Comets.
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Her reaction was somewhat less conventional: she picked up her mom’s guitar, taller than she was, and started to teach herself how to play the instrument, strung for a righthanded player, lefthanded – “upside down and backwards,” using her stronger right hand for chording and ignoring the customary positioning of the guitar strings.Īrmed with her unusual guitar style and crystalline soprano voice, Kate teamed with her twin sister to perform as “Katie and Anne McDonnell” around their Baltimore hometown during their high school and college years.
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Read Full Bio Kate McDonnell’s introduction to folk music was conventional, if precocious – as a four-year-old, she heard a Joan Baez album in her mother’s collection. Her reaction was somewhat less conventional: she picked up her mom’s guitar, taller than she was, and started to teach herself how to play the instrument, strung for a righthanded player, lefthanded – “upside down and backwards,” using her stronger right hand for chording and ignoring the customary positioning of the guitar strings.
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Kate McDonnell’s introduction to folk music was conventional, if precocious – as a four-year-old, she heard a Joan Baez album in her mother’s collection.