OUT NOW – Meaghan’s second album, Creature Comforts, is now available for streaming and download on Bandcamp, iTunes, Spotify, CDBaby, Apple Music, and all the other platforms! Physical merchandise (vinyl and CD) is available here:

Praised for her “alarming tour-de-force intensity” (The Examiner) and “impossibly beautiful but in no way forgiving” songs (The Deli), Meaghan Burke frequently performs her own music as a soloist as well as with the bands/ensembles The Rhythm Method, Forever House, Loose Lips Sink Ships, and Cheating on New York.  Drawing heavily on her experience “commuting” between her geographical homes of Vienna and New York, as well as her various musical homes, Meaghan writes haunting, festively dark songs, part art, part pop, with witty, macabre lyrics and killer riffs.  With inspirations ranging from Nirvana to Cole Porter to Anton Webern, she tells stories of bedbugs, bedfellows, and the apocalypse, wedding her sundry influences of Brechtian cabaret, 1990s grunge, old-school blues, and avant-garde contemporary music.  Her debut solo album, “Other People’s Ghosts,” was released in 2010; she recently finished recording her second album, “Creature Comforts,” in New York and Vienna, featuring her favorite collaborators from both sides of the pond. This album was released in May 2017.

“There is something terribly wrong with calling Meaghan Burke a songwriter. Like vodka, the more you question the effects, the blurrier they become. Meaghan Burke is not an artist whose musically over-educated past is a primer for making marketable pop music. Her sound embraces the odd nuances contained in love affairs with free improvisation, lingering music school sadism, a career geographically split between New York and the Vienna intelligentsia. Meaghan sings jazzy, approachable melodies over cello accompaniments that channel every possible incarnation of Western music all at once. It’s impossibly beautiful but in no way forgiving. Her fingers race in preparation of cadenzas and the orchestration seems totally unrelated to what pours out of her mouth. … Because what she’s created is too personal, too direct and unusual to claim she’s a songwriter – which sounds categorically absurd but it’s true – it’s like she’s a songwriter, imploded.” – The Deli NYC

Full review at (11-26-11)

“Despite being a native of New York, Meaghan Burke is, as a result of living in Vienna for a number of years, being asked to represent the city’s pop scene at the Popfest Wien free festival. This is the warm-up and it is clear that the anomaly is two-fold: her being merely an adopted daughter, but also that the music she makes is only on the barest of nodding terms with ‘pop’. That said there are hi-jinks in her business, an embroidered, fresh-faced charm; the manner in which she beams, sporting the ivory being a facial equivalent of Doris Day greeting the day’s business with a windmill slap of a thigh. Yet she marries this innocence with regular dips into Diamanda Galas style melodrama, the voice flitting and swooping like a swallow, elasticising from trills to treacle…” -Vanity Project UK Fanzine

Full review at: (5-13-2011)

“One woman, one cello, one microphone and no trace of sentimental sappiness in sight. When Meaghan Burke, who commutes between New York and Vienna (some folks got it hard), asks a foppish, mournfully mediocre “Hatboy” if he has actually earned his hat, one doesn’t want to be in his skin. Burke’s cello drones, groans, scrubs, rattles and purrs, singing with and against her voice, whose idiosyncratic melodic arcs tell of biting bedbugs and dreamy Bohemian boys, chant the message of her answering machine, and introduce her song about a “methadone friend” with a variation on Cole Porters “One of Those Things.” We admit, one could dispute whether this is pop. But let’s just say, it should be.” – Robert Rotifer (in translation) (April 2011)

A Few Concerns Concerning the Second Coming (commissioned by Spark and Echo Arts)

“Meaghan Burke’s live performances are as intimate as her songs, baroque relics of a metropolis that only looks modern from the outside – Vienna.” (in translation) Full article at: (May 2011)

“Just in time before she leaves us for New York, Meaghan Burke has left us the songs with which she stormed the Viennese underground in the last few months, preserved and self-released. Cello, voice, and a few well-chosen harmonies — that’s it. The classically trained cellist not only writes overwhelmingly beautiful songs, but her concerts are always an experience. Her live presence is hard to top, and it’s a serious wake-up call to fellow singer-songwriters who think it’s enough to wallow about a little. We’re talking about music here. Hallelujah!” (in translation) (12-11-2010)