Compared to the likes of Kate Bush, Tori Amos, George, and Evanescence, Bronwyn’s piano and chilling vocals, are central to every piece.

Yarra Valley, Melbourne, VIC, Australia


Born in Canberra on the 26th of March 1977, Bronwyn was a fiercely independent and imaginative child, who at the age of three spent many an hour sitting at the piano creating her own tunes, whilst waiting for her sisters to return home from school. Demanding an audience from teddy bears, neighbours, relatives and anyone who might listen, Bronwyn was always aware that she was born to entertain.
Music was central to her childhood. Whilst singing in her primary school choir, she was already exploring the world of popular music with the radio hits of the 80’s. It wasn’t long before she had identified herself with the works of David Bowie and Queen, who would later become great influences of her own work.
As adolescence dawned, so too did a wider scope of music, as she started to listen to Pink Floyd, Metallica, and in contrast, Mike Oldfield, Phantom of the Opera, Les Miserables, and Chess.
Her first close encounter with the creative music process was with a friend she met through her husband. Writing his own compositions using a computer and synthesisers, he was looking for someone to write lyrics and sing. This was an exciting opportunity, but unfortunately after less than a year, work took him away to another state.
From here, Bronwyn tried her hand at live music, initially working as a back up singer for a 60’s - 70’s Rock n Roll band, eventually taking on many lead songs. However, constant dramas with band members switching, people not arriving for rehearsals, and basically frustration with singing such old cover songs, lead to the decision, not only to leave this band, but also that for now, it was time to work alone.
Although quite clearly skilled as a child, Bronwyn was not able to pursue her own dreams of writing and performing her own material until in her early twenties, when she started having piano lessons. Rehearsing for at least six hours a day, she achieved a high level of playing in a very short space of time, writing her first couple of songs within six months of learning to play.
The lyrics just started pouring out. It was almost as though they had a pulse of their own, demanding to be put to music. Finding this an incredible therapeutic release, Bronwyn continued writing lyrics, slowly developing the artistic approach to writing that she uses today. Also, at this time, she was introduced to many emotionally provocative, strong, opinionated female artists, such as Suzanne Vega, Tori Amos, Bjork and Alanis Morisette, with whom she identified with immediately.
It all seemed to be coming together for Bronwyn in the year 2000, but just as she was organising herself to start playing publicly, her house burnt down. This was a very long and difficult time for Bronwyn, as in that fire she lost her 120 year old German piano, with which she had bonded to enormously. She says that for years it was like grieving an old friend. She explains that pianos work with you, tell you stories, some you get along with, others not so well. They also listen to you, and it is through this communication that great music is written.
Finding music difficult for several years, it wasn’t until 2005 that Bronwyn re-emerged, after a friend asked her if she would help out at the local community circus. “Sooper Dooper Circus” was looking to have their own original music score, along with their original script. Recognising her talent, she was soon made Musical Director, and started teaching her three students the fundamentals of music theory and composition.
Although writing most of the score herself, Bronwyn guided her students as they contributed to the writing of music, lyrics and singing. The show was a huge success, and the original music, performance of Bronwyn, her students and a

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