I’m so excited to announce that I’ll be coming back to Europe to perform on Where the River Meets the Song – a week long river cruise through the beautiful wine country of Burgundy and Provence in November 2027. I’ll be appearing alongside my friends and fellow award winning singer-songwriters Mary Gauthier, Jaimee Harris, Tim O’Brien and Jan Fabricius – and of course, Barry Walsh.

Along with luxury accommodations and multiple evening concerts on board almost every night, this package includes shore excursions at each port, free wifi and much more. I have wanted to do another river cruise since Barry and I did the Danube cruise a few years ago, and this one is going to be spectacular (and give me a chance to polish my very rusty French). Note: the cruise takes place in November 2027, but booking is open now. See the Fan Club Cruises website for our itinerary and all the details – and join us for an unforgettable week of songs and wine and gorgeous scenery. À bientôt!

Many, many thanks to Americana-UK‘s Graeme Tait for naming “The Matador” at the top of his list of Americana songs of all time. Normally I have an aversion to music journalism that attempts to “explain” a song, or a musical work; in this case I think he did such a fine job of describing what was in my mind when I wrote it that I am reposting part of it here, and including a link to the piece so that you can read it for yourself.

Thank you, Graeme, for the kind words.

Written over five days and focusing on the polarity of both love and art within the creative process, ‘The Matador’ is, in my view, the epitome of songwriting. Based around Federico Garcia Lorca’s concept that a dark spirit can seize an artist and thus subconsciously produce the most powerful and elemental creation, the thrall of the spirit, or ‘duenda’, is that which controls not only the performer but also the audience as they are pulled temporarily into another world…

to read the article in its entirety visit Americana-UK.

Just announced: an 8 week online songwriting intensive, presented by Caffe Lena. We’ll meet on Sundays at 1pm Central time/7pm UK time. Classes will be held on Zoom on April 27, May 4, May 11 & May 18. Then there will be a 2 week break to implement what you’ve learned in the previous four sessions, in preparation for part two. Classes will resume June 8, 15, 22 & 29. For more info, please see the Caffe Lena website.

If you can’t make it to Nashville to attend an in-person songwriting workshop with me, this is a great alternative.

My next 3 day intensive workshop, “Songwriting From The Inside Out”, will take place August 6-9, 2025, in Nashville.

In this workshop, we’ll explore the process of songwriting—the art and the craft, and the delicate balance between the two. We’ll learn how to keep a sense of creative play and when (and how) to welcome the inner critic into the room. We’ll find ways to work through “writer’s block.” We’ll learn that only through the specific do you achieve the universal—the holy grail in songwriting and all writing. We’ll learn to write from the inside out, beginning with the spark of an idea and following it all the way to its full realization.

For more information and to register (class is limited to 15 people, so grab your seat now), visit Performing Songwriter.

I sat down (virtually) with Bart Herbison of NSAI to talk about a song I wrote in 1993 which changed my life. Thanks to Bart and The Tennessean for this Story Behind the Song featuring “Independence Day”.

Hear the entire interview at The Tennessean.

I sat down (virtually) with Bart Herbison of NSAI to talk about a song I wrote back in the 1990s which was both the title song of my first album, and a hit for Faith Hill. Thanks to Bart and The Tennessean for this Story Behind the Song featuring “The Secret of Life”.

Hear the entire interview at The Tennessean.

I’m so excited to announce our return to Scotland in 2025. I’ll be making an appearance at Celtic Connections Festival in Glasgow, a festival we’ve played many times and one of the best in the world, on 17 January. Tickets are going fast, so book now.

And on 19-20 January, I’ll be in Edinburgh teaching a two day intensive songwriting workshop. This will be an intimate group workshop (max. 20 students) which will include group work and one-on-one time with me. The workshop will culminate in an open to the public concert on the evening of 20 January where each student will have a chance to perform for the class and an intimate audience at St. James Church in Edinburgh. Many more details and a registration form can be found here. As of this writing there are only four slots left, so be sure to reserve your place and let’s dive deep in to the art & craft of songwriting.

My thanks to Americana UK for shining a light on a song that has been so important to me. Believe it or not, I wasn’t sure it would work on the Hello Cruel World album at first. I can’t even remember why now. I do know that after playing it for every audience on that UK tour with Suzy Bogguss and Matraca Berg, I changed my mind – or more accurately, they (the audiences) did.

Something about the heroine – and I do think of her as a heroine – in this song pulls at me. She’s flawed, no question, but she’s also brave and determined and ultimately vulnerable. She’s one of my favorite characters and I’m so glad she came to me to tell her story.

It’s not often you remember where you were when you heard a song for the first time.  In June 2011, I was at the Stables in Wavendon, Milton Keynes, seeing Wine, Women & Song (Gretchen Peters, Matraca Berg and Suzy Bogguss playing in the round) when Peters announced she was going to play a new song.  Five minutes later as the song finished there was a moment of silence as the audience held a breath before breaking out into rapturous applause.

To read this feature, visit Americana UK.

I enjoyed doing The Other 22 Hours podcast immensely. What a wonderful thing to be able to talk about some of the less frequently discussed aspects of the creative life – the other 22 hours besides the 2 you spend on stage. My thanks to Michaela Anne and Aaron Shafer-Haiss for inviting me.

You can listen at the link, and then go back and listen to other episodes – I guarantee you’re going to want to.

Listen here.

“From the opening song, the moving murder ballad “Blackbirds” (the body count at Gretchen’s shows is generally pretty high!) to the closer (an impromptu, solo acoustic rendition of “Love That Makes a Cup of Tea“ which I have on good authority was not included in any of the other dates on this tour) the mutual love between artist and audience was almost tangible throughout the two hour plus set.”

to read this review in its entirety, visit Country Lowdown.

“Neither singer nor audience wanted the evening to end, and Peters delivered an utterly enthralling show. She was backed by a trio of fine musicians, including her pianist husband Barry Walsh, who stood up from the keyboard to add accordion flourishes to a couple of numbers, including “The Matador” and Tom Russell’s exquisite and atmospheric “Gaudalupe”. At times I was reminded of early Hot Band… It was a generous and memorable 90 minute set that she closed with “One for My Baby”, the old Harold Arlen – Johnny Mercer chestnut from Burnt Toast and Offerings. Let’s hope the albums keep on coming.”

to read this review in its entirety, visit theartsdesk.com.

“An obvious leaning towards some of the newer material represents the prime evolution of Gretchen Peters’ songwriting. A skill that fermented like the finest old world wine. Of course there was space for some absolute live standards. Has she ever left a stage without singing ‘On a Bus to St. Cloud? The obligatory intro applause is another permanent fixture.

One of the many legacies of Gretchen Peters touring was the introduction to the music of Ben Glover. In a defiant show that the creative music making is far from over, we were introduced to a new song co-written with her long time writing collaborator. If ‘Judas Kiss‘ has the lasting effect of show opener ‘Blackbirds‘ (another Peters/Glover co-write), then this race is far from run…”

To read this review in its entirety, visit Three Chords And The Truth.

“What followed was spellbinding, The Matador was haunting; All You Got Is a Hammer was punchier than usual with Barry giving us some unexpectedly Jazzy flourishes on the piano.
Although I gave it a favourable review in 2015; I didn’t remember Pretty Things which found Gretchen being joined by Kim singing harmonies tonight; but vowed to seek it out when I got home … and it really is a cracker….
Every song was was both greeted and ended with tumultuous applause from a knowledgeable audience who knew that this was their last opportunity to hear these songs in this setting.
As the concert rattled through; the best was kept for last (I think) with a 3 star performance of Bus to St. Cloud which neatly preceded Five Minutes which left me gobsmacked; and I’ve seen and heard Gretchen Peters sing both in concert a few times …. but tonight…..”

To read this review in its entirety, visit The Rocking Magpie.