select press:Interviews

The uk independent:

impose magagzine:

Guitar Girl Magazine:

Glide Magazine:

Folk Radio UK:






The times of london:

"A must see act of the festival season"


"A fervently emotive kiss-off anthem that is both militant, righteous and experimental. Coogan’s introspective tunes comes from a place where the line between poignant songwriting and echoey indie rock collides completely."

Acoustic Magazine (UK):

"A Must-see act!"

The Daily Telegraph:

"A fine album with the affecting lyrics and Fiaschi’s soothing pedal steel guitar blending perfectly on a country-style song."


Underneath its sweet tones and stunning musicianship is a deep dissatisfaction with the status quo of today. Both musical and cultural; here is a classically-trained opera singer armed to the teeth with an electric guitar, a record’s worth of great songs and sharp lyrical insight into the 21st century."

Full Review:


"This third album from singer-songwriter Anna Coogan defies the notion that 'rock opera' is a concept of the past, as The Lonely Cry Of Time & Space seems to have that kind of overall feel – a whole concept, rich with melody, a story and a vast, lyrical landscape."  Rob Ross, Pop Dose: Full article:

The glasgow metro:

"There is little wonder many reviewers have been doing literary backflips over her work. It's an accomplished mix of glorious vocals and assured guitar work." Roger Crow


Though the operatically trained Coogan is more Klaus Nomi than Renée Fleming, at their respective cores both are concerned with the passage of time, and the spaces and people in between. Despite the trappings, they can be lonely adventures.Coogan's singular guitar (which can also be heard on Johnny Dowd's recordings) is often, like the Marschallin's soliloquy in Act 1, reflective yet wandering, restrained yet expansive, holding on yet letting go ... or, how far the journey from here to a star? Lyrically, Coogan shows no fear in exposing her vulnerable side, not necessarily a hopeless romantic, but a romantic nonetheless...The songs, some written with her drummer and singular bandmate Willie B, sometimes ride the waves of an extreme force, sometimes juxtaposing words and music, sometimes a parallel course, and never less than intriguing using that trained voice to great effect. For another take on this absolutely lovely record that, like Iris Murdoch once said, invigorates without consoling, see Lyndon Bolton's ND interview. -Amos Perrine, No Depression Full Review here:

No Depression

"Until someone devises a Prog/folk/Eurodisco/opera/goth metal/environmentalist dystopian chanteuse category, it fits as well here (No Depression) as it does anywhere. Her previous The Birth of the Stars, in collaboration with JD Foster, hinted at the range here, and her vocals in support of the notorious Johnny Dowd have shown a taste for adventure. But his music explores worlds far beyond, one where space oddities collide with spaghetti westerns, and we’re all interconnected and very much alone. Her sole collaborator throughout most of this ambitious song cycle is percussionist Willie B., also a frequent Dowd accomplice (they’re all based in Ithaca, NY, which makes you wonder what’s in the water there).  Her vocal range is operatic, a three-octave soprano that shows her classical training, but it’s the guitar squall she raises comes from a different world entirely.  Imagine Kate Bush fronting King Crimson.  Or think of the days when Jeff Buckley teamed with former Beefheart guitarist Gary Lucas.  But instead of complementary artistic sensibilities, this is one artist, soaring to vocal peaks that her guitar surrounds with atmospheric soundscapes, as the percussion grounds the ungroundable."- Don McCleese, No Depression. Full Review here:


Combustible, diverse, sometimes dark and mystical, Coogan travels far, launching her trained three-octave soprano vocals on the opening section of If You Were The Sun high into the stratosphere. She stretches it to the limits at times, but nails it far more often...Ever experimenting, both instumentally and vocally, Coogan doesn’t just cross boundaries – she flattens them. She breaks free of all restraints, as does her partner on the album. Willie B, who is given freedom to go wherever the urge takes him. The tracks embrace subjects ranging from her concern about the planet and Trump’s successful presidential campaign to songs about personal heartbreak, and even include a guitar instrumental (Last Exit). Full review here:

Innocent words Magazine:

Anna Coogan’s latest release, ‘The Lonely Cry of Space and Time,’ is, if nothing else, a collection of songs dripping with unbridled artistry. Practically shouldering the whole mass herself, her voice, instrumentals, and lyrics drip with a passion that is almost palpable. The intimacy of her musical gift forges a bridge between the listener and musician because it is a raw exposure of talents that is impossible not to feel.

Full review:

The IThaca times:

Anna Coogan is a force. With an epic voice and a brilliant musical sensibility, the Ithaca by way of Seattle by way of Boston-based musician can command a stage like few others. Through her driving and spatial jaunts is where her real dimension squares. Her newest record, “The Lonely Cry of Space and Time”, is an extension of her deep offerings: vast and lush, with corners sharp and stunning. The record’s a two-person effort, featuring Willie B in drums and Moog bass, and when then two musicians play live – lights sparkle.

Here comes the flood:

She is a poet, a singer and an ace guitarist, alternating between Chris Isaac and Ry Cooder, rowdy garage rock, mainstream pop, vocal pyrotechnics, and intricate soundscapes. Full Review:


THE FALL OF THE HOUSE OF USHER with live original score performed by Anna Coogan and Tzar

Premises: A classic and timeless retelling of the Edgar Allen Poe story of loss, pain and more in the House of Usher.Hats off to Barbier and the IIFFF crew for having this gem of performance flood the Cinemapolis with timeless storytelling on a bed of music. The entire 62 minute performance showcased great musical talent and emotion as the trio of Anna Coogan and Tzar blew away the crowd with this original score and angelic vocals by Coogan.Hats off to the fans who came out and packed the theater to experience this timeless story of macabre love and the music that brought it to life."

Grassroots Festival:

Anna Coogan is a curious songwriter on a musical adventure. The sharp intelligence of her lyrics softens in the hands of her poetic delivery. She has scored silent films, toured with Johnny Dowd, put out six records of depth and continues to reach us through the folk, country, and rock and roll collage of her work. In Coogan’s duo performances with Willie B, a bigger sound emerges, flushed out by his percussive skill and rhythmic balance. The two area truly inspiring collaboration.” 


“Burn For You” works in grand operatic forms that captivates all available faculties of attention....exhibits the fire from within in an outward fashion that will beguile & mystify all with ears to hear.”

Reviews in many languages

El cocktail de sonidos y matices que Anna Coogan nos presenta solo tiene un calificativo: bonito-maravilloso-explosivo."

"One of the most unusual and interesting records on the market."

"A special record that moves off the beaten track."

"The effect of this voice, combined with the country rock sound, is unbelievable."

"Whoever wants to draw parallels to KATE BUSH, LENE LOVICH or even YOKO ONO, is certainly not entirely wrong."

"11 songs with explosive themes, with a 3-octave soprano and unusual arrangements. You have to get involved."