Honor Finnegan is the Susan Boyle of quirky indie folk, only hotter. Her songs are humorous then heartbreaking with melodies that soar. Based in New York City, she has been making a splash in the northeastern regional folk scene with her original songs and ukulele playing. Combining elements of musical theatre, comedy, traditional folk, and poetry, Honor is cooler than the other side of the pillow.
Honor Finnegan was born and raised on the South Side of Chicago and learned to appreciate a variety of people and music living in a mostly African American neighborhood and sitting in the back seat of her single mothers car listening to the radio for long periods of time. When Honor was 11 her dream of being an actress came true when she was cast in the 1st National Tour of “Annie”.
Honor eventually outgrew the Annie thing and went back to Chicago, spending her early adult life studying Improv with Del Close who created “Honor Finnegan vs. the Brain of the Galaxy” to try and help the poor waif get somewhere in life.
In 1991 Honor moved to Ireland. While living in Ireland, Honor sang with jazz bands, blues bands, big bands and traditional Irish bands including DeDannan for about a day. She released a cassette, “Learning to Fly”, in 1996 and was a finalist in the Paddy Music Expo in Limerick. Her song “Better Love Water” was sung on the Gay Byrne Radio Hour twice with the all-female a Capella group, “The Cappuccinos”. Honor moved to New York in 1998.
Honor is a regular attendee at the late great Jack Hardy's songwriter's exchange, which has nurtured the talents of Suzanne Vega, and Shawn Colvin to name but a few. She is also a proud member of Tribes Hill, a folk music collective based in the Hudson Valley. She was a finalist in the 2011 Connecticut Folk Festival Songwriting Competition, and she has shared the stage with Buskin & Batteau, Sloan Wainwright, and David Massengill.
Dagmar grew up a pianist steeped in classical repertoire but also drawn to the excitement of jazz improvisation. She earned a degree in jazz piano performance and music education from Eastman School of Music in Rochester, New York. Recently, however, one of her most stirring lessons came while frequenting the local folk scene. The vigor and purity of folk music and its connection to the human story, was a revelation that changed her lyric approach on Satellite. “For these songwriters it’s more about lyrics than music. For me, it has been more about the music. I could really grab onto their words because they were so tangible. My past lyrics were poetic, and the music painted the text, but you couldn’t easily take hold of the stories,” Dagmar reveals. Through immersing herself in the folk scene she realized, “When you’re open and direct, the audience can enjoy the songs more because you’re inviting them in.”