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From a bar basement - to a winning career.

We give you … the Real (21st century) McEvoy.

Eleanor McEvoy is a household name known the length and breath of Ireland. McEvoy’s songwriting has inspired people of all ages and backgrounds. Her song 'Sophie' taken from the album 'Snapshots' has touched the hearts of people around the globe who suffer from eating disorders, thus leading to over one million hits on YouTube. Her massively successful song 'Only a Woman’s Heart' went on to be one of Ireland’s biggest selling records and landed McEvoy a major deal with Geffen Records. McEvoy, an illustrious musician of the highest standard, is a northsider from Ireland’s capital who got her start in the grimy, religion-bound, pre-Celtic Tiger Dublin. Escaping the norms of her environment through music, youth orchestras, and traditional festivals, McEvoy went on to study classical and contemporary music at Trinity College Dublin before embarking on her signature songwriting and musical career that now hails her as one of Irelands finest and best-known female acts. High critical acclaim has come from such publications as Mojo, The Times, Uncut, HiFi+, Maverick , Hotpress, and many more. McEvoy has also been invited to perform for international politicians such as US president Bill Clinton, a concert which drew a crowd of 80,000 spectators. McEvoy has also appeared on major TV platforms throughout her career including RTE and BBC television. She has traveled on countless worldwide tours, performing her music for all in her fan base.

McEvoy’s new fifteen-track album SINGLED OUT kicks off with the exuberant and powerful 'Oh Uganda' which chronicles her impression of the country which she visited supporting an Oxfam Ireland programme there. The album also includes the radio hits 'Days Roll By', 'Non Smoking Single Female', and 'Old, New, Borrowed and Blue'. The songs are all by McEvoy, apart from two, a stunning take on Marvin Gaye's 'Mercy, Mercy Me', and her female twist to the timeless Rodney Crowell classic 'Shame on the Moon'. A bonus video clip of 'Wrong So Wrong' completes the collection. 'Oh Uganda' is a brand new track and has been released as a new single. All other tracks are new mixes or new masters of the songs taken from the albums 'Yola', 'Early Hours', 'Out There', and 'Love Must Be Tough', and to accompany these tracks, the original artwork for each song is featured in the booklet.

Hot Press 'Shame On The Moon'/'The Night May Still Be Young But I Am Not'. A great uncluttered and uncontrived version of a loose and louche Rodney Crowell song, with an equally cool, homemade classic as the B-side: "Give me your best line and I'll give you my best shot," croons Eleanor's jaded but defiant voice. "The night my still be young, but I am not" Great stuff.

Truck & Driver “Album of the Month” 5 out of 5 stars. If you’ve yet to come across Eleanor McEvoy, this superb blend of covers and originals is the perfect place to start. Like a female Van Morrison, she swings from the Stones to Dave Edmunds and from country to jazz and the most booze-sodden balladry since the Pogues. Tough-skinned and soft-hearted, or maybe the other way round, McEvoy sounds like the sort of woman who might greet you with a bottle of red one night and a rolling pin the next.

Word Magazine Irish singer-songwriter Eleanor McEvoy pulls off a bit of a first by covering songs originally sung and written by men. The songs range from Jagger and Richard’s “Mother’s Little Helper” through Sly Stone’s “If You Want Me To Stay” to the gem “Shame On The Moon” from the pen of country songwriter Rodney Crowell.

BBC Radio 4 Loose Ends Clive Anderson declares Eleanor McEvoy’s live performance of ‘Old New Borrowed and Blue’ “Excellent”

BBC Radio 2 Terry Wogan Terry comments after playing ‘Old New Borrowed and Blue.’ “Yeah we love that, that’s a good one huh? We”ll hear more of that again.”

Irish Times Launching her latest collection with a surprisingly jazz-tinged cover of the Jagger/Richards Mother's Little Helper, Eleanor McEvoy goes against the grain yet again. That unmistakeable voice, that determinedly undiluted accent trip-hop across the rooftops of self-penned, pitch-perfect pop (Love Must Be Tough) and then lollop across a songbook that's littered with gemstones borrowed from Butch Hancock, Rodney Crowell, Nick Lowe and Terry Allen. McEvoy's facility with everything from Tex-Mex country (He Never Spoke Spanish to Me) to the straight up three-chord trickery of I Knew the Bride (When She Used to Rock 'n Roll) is a timely reminder of what sets a musician apart: a hunger for exploration and a deep-seated talent for exploring the darker corners of both music and life.