Looking for the Child
Marcus Hummon, has been one of Nashville's most consistently successful and innovative songwriters, and was recently named 'Nashville's Top Songwriter' by the Nashville Scene's Readers Poll for the third year in a row. He has penned, or co-penned, hits for Sara Evans ('Born to Fly'), the Dixie Chicks ('Ready to Run' and 'Cowboy, Take Me Away'), Tim McGraw ('One of These Days'), Wynonna ('Only Love'), and many others, garnering Grammy, CMA, and Tony nominations. Along the way, he has also recorded and release five albums of his own. The first, the critically acclaimed All in Good Time, on Columbia Records, two sterling independent label releases, The Sound of One Fan Clapping and Looking for the Child, and his latest EP, Revolution on Velvet Armadillo Records, and Supernatural released on the London Rock Label, Track Records, in the UK, and Western Beat in the US. Marcus's diverse career has also included a published book of poetry, entitled 'Gospel Haiku,' and the lyrics for the PBS children's cartoon series, 'Book of Virtues.' Venturing into theatre, Marcus has received Metro and Tennessee Arts Grants for three of his musicals: American Duet, co-written with Bill Feehely, Artistic Director of Actors Bridge, Francis of Guernica, performed by Tennessee Repertory Theatre, and Warrior, a work based on the life of Jim Thorpe, the great Native American Athlete, which premiered at the new Country Music Hall of Fame in Nashville. Warrior also garnered Marcus the award for creative achievement given by the Native American Association of Tennessee. His latest work, The Piper, will debut at the Hartt School in Hartford, CT in April, 2004. He recently returned from New York, where American Duet received a stage reading at the New 42nd Street Studios. His musicals have not only played to sell out crowds, but have also generated great reviews and multiple 'Tennie' (Tennessean Theatre Critic) awards. In his review of American Duet, The Tennessean's theatre critic, Kevin Nance, wrote: '...Hummon offers a visionary alternative. His score for American Duet-a pulsing, yearning, soaring amalgam of Afropop and country styles-masterfully delineates and then subtly blends the two genres so that, by the end, the differences between them all but disappear and a new thing, a third thing, has taken their place. The result is no self-conscious hybrid; it has it's own kind of integrity, perfect and whole.'