An expatriate New Yorker now living in Buenos Aires, Argentina, Richard Shindell is one of the great craftsmen of song, whose eight studio albums and 2 live recordings have been revered by critics and fans alike. Innovative, original and occasionally spiritual, Shindell's songs weave tales that champion the downtrodden, exalt the disaffected or wax empathetic to those lost to society's fringes. From his first record, Sparrow's Point in 1992 to Not Far Now in 2009, Shindell has demonstrated songwriting at once passionate and profound. His songs are often slowly and painstakingly crafted until honed to perfection. Conversely, he is also capable of writing tunes that are simply clever and amusing.

Born in New Jersey, Richard grew up in Port Washington, Long Island andspent the last of his teenage years in Baltimore, before attending Hobart College in upstate New York, where he began to pursue his musical interests.  His travels, both literal and spiritual and have taken him to a Zen Buddhist monastery, busking in Paris, back to New York and to Buenos Aires, where he now lives with his family.

He has toured and collaborated with artists such as Joan Baez, Dar Williams, Lucy Kaplansky and Show Of Hands. His 2007 album, South Of Delia, his interpretations of songs by, among others, Woodie Guthrie, Bob Dylan, Robbie Robertson and Bruce Springsteen, was universally acclaimed and featured contributions by Richard Thompson, Larry Campbell, Victor Krauss and Eliza Gilkyson.

‘Shindell is a master of subtle narrative; his ‘Fishing’ may be the best, if not the only, song ever written about an interrogation from the viewpoint of the law officer.’

— James Ring Adams, Wall Street Journal

‘Occasionally an artist has a night that makes even skeptics think, 'OK, maybe he is the best.' Richard Shindell achieved this on Thursday at the Bottom Line (Greenwich Village, New York)’

— ANN POWERS, The New York Times

‘Shindell is a master builder of songs….[he] has an uncanny sense of the theatre of a song, building his ballads sparely and subtly, set to sweeping graceful melodies.’

— SCOTT ALARICK, The Boston Globe