We first came across the work of Camille O’Sullivan at a long ago edfringe, where she made her much acclaimed and startlingly successful Edinburgh Festival debut. And, of course, we have been following her career ever since, be it her subsequent performances in the Scottish Capital, or her work elsewhere. 

This month she begins a run at London’s Soho Theatre with ‘Loveletter’, co-created with long time collaborator Feargal Murray, an already acclaimed show that took edfringe by storm in 2024. 

I spoke to her to find out more about ‘Loveletter’, but also to investigate Camille’s inspirations and influences, her past, and her hopes for the future. 

CM: Can you start by telling us about the content of ‘Loveletter’? What kind of material can we expect to hear? 
CO’S: It’s a love letter in song to inspiring artists and friends Shane and Sinéad, much loved and missed.

I grew up a huge fan of them both, later toured with The Pogues, and was lucky enough to spend time with dear friend Shane MacGowan near the end.

The show also honours Sinéad O’Connor, David Bowie, Radiohead, Nick Cave, Jacques Brel, Dillie Keane, Tom Waits, and many others whose music shaped my life.

Performing alongside my best friend, long time collaborator Feargal Murray, I wanted to create something intimate and heartfelt – an honest response to the artists who inspired me to sing.

Their songs were the soundtrack to my childhood in Cork, drifting through my parents’ record player and my sister Vicky’s bedroom wall late at night. 

That’s where I first heard Bowie – and from that moment, I was lost and found all at once. Music set me free; it was my way out of shyness, to inhabit songs and be uninhibited on stage – which I find hard in my real life!

These artists were master storytellers, creating universes in song where I could hide, dream or come alive. Performing in Soho feels especially poignant — a place where Shane, Kirsty and Bowie all left their mark.

I used to live on Soho Square, wandering past the Witches’ Cottage, sitting on Kirsty’s bench – feeling the ghosts and laughter still in the air.

They inspired me to take risks, to sing fearlessly, to fall apart and begin again. I’m so grateful to sing their magic spells.

CM: What was your inspiration in creating this show?
CO’S: It really came after the passing of Shane and Sinead, it was a massive loss for us at home. In retrospect we realised how much they gave us a voice – especially Sinead to us girls – it was losing them that created a need to keep them close. They changed who we were as a country, which makes this such a personal show for me.  

I couldn’t bring myself to listen to their songs but sat reading Shane’s lyrics and saw a different side: the dreamer, the lover of nature, the poet.

I’d never really sung Irish songs before, but as time went on, I felt this need to send the love back, to stay close to them through song. Both gave so many of us – especially women – a voice. They were utterly authentic, fearless, and never worried about image or approval.

Singing ‘Haunted’ with my dear friend Mundy at Shane’s funeral was one of the most emotional moments of my life – full of tears, laughter, and Irish musicians all around, celebrating him with love. In the months that followed, I wanted to hold onto that feeling, that sense of connection.

The show grew out of that – a personal response to love and loss. Reading Shane’s lyrics, I began to see the tenderness and poetry behind the rebel, and with Sinéad, that fierce truth and fragility she carried.

It became my way of honouring them both – a love letter in song, and probably the most personal show I’ve ever done.

CM: You’ve been working with Feargal Murray for a long time – can you tell us about how you first began to collaborate and what keeps your partnership going?
CO’S: I first met Feargal back in 1997 – we started out doing small shows together. Not long after, I was in a car crash and Feargal nursed me back to health.

That experience bonded us in a very profound, almost spiritual way and I think that connection comes across when we perform. 

He’s my best friend – people sometimes call us Hansel and Gretel – I’ve no idea why! – but we are a bit like two children holding hands on stage in music, he has such a lovely presence on stage compared to my unravelling! Feargal is such a gem – a Derry gent, a beautiful soul, and the finest pianist I’ve ever worked with.

We’ve been creating music together for around 25 years now, and there’s a deep understanding between us, almost symbiotic, like two rivers flowing together. He can play with such delicacy and power; sometimes it feels as if he’s playing a hundred instruments at once.

We usually tour with a full rock band, but for this show we wanted to strip it all back, make it intimate, so the audience can really hear the story and the song – where the lyrics are king.

CM: Who or what are your influences and inspirations, in the world of music or elsewhere?
CO’S: I’ve always been drawn to artists who tell stories and aren’t afraid to show their emotions. Jacques Brel has been a huge inspiration; I love the emotional depth of his songs and the vivid characters he creates. His music lets me step into different worlds, different selves – it’s theatre, life and truth all at once.

Growing up, it was The Beatles, Bowie, Pink Floyd, Abba, The Clash, Bob Dylan – all incredible storytellers. Bowie, in particular, gave a shy kid like me permission to play with identity, to become someone else, but ultimately to reveal more of myself. 

I’ve also been inspired by Nick Cave since the early 90s, being drawn to the darkness and beauty in his work. 

Beyond music, I love dance – Martha Graham, Gene Kelly, Pina Bausch – and the quiet spirituality of architecture, like Peter Zumthor. I’m fascinated by anyone who creates with honesty, whether through movement, sound or space.

CM: What attracted you to performing at the Edinburgh Fringe and what keeps you going back?
CO’S: I was terrified the first time I did the Edinburgh Fringe in 2004, a small voyage from Ireland, but a massive step in my head.

I was so lucky to star as an original performer in ‘La Clique’ / ‘La Soirée’, and also with my own shows. I’ve got to meet so many incredible performers and lovely audiences over the years, many that have become old friends.

I lost a lot of money that first year, but I was enchanted by the city — a topsy-turvy, Escher-like landscape of theatres on every corner, full of extraordinary artists from all over the world.

I quickly realised the Fringe was a shop window to other venues worldwide which was wonderful. It really pushed me to create a new different show every year, challenged me, and shaped my career. One of the reasons I like to return now is the people I met who came to the shows, it’s lovely to get their stories and hugs in person!

Now, I feel perhaps my Edinburgh chapter is slowing down – a bit less spring lamb and more old goat! But the city has a way of luring you back.

Someone once told me, “Only go to Edinburgh if you have something to say”, and that’s held true all these years.

CM: You studied architecture but became a performer – what made you decide to work in the arts?
CO’S: For me, it’s all the arts – each one a way to express yourself creatively, but singing has always been the most moving and cathartic, though I’m scared of audiences. 

I wanted to be a painter first, which is all solitude, and studied fine art in college, then went on to study architecture and ran my own practice, teaching along the way. 

Then – as I mentioned – I had a pretty bad car crash and that’s where everything changed and I got this second life/chance. While recovering in hospital, on lots of meds, I realised I really wanted to be a singer. In truth, I think I’d wanted it for a long time, but I had put so many obstacles in my own way. 

The crash jolted me: terrified as I was, I knew I had to go for it. I don’t think I could do anything else. I’m still quite childlike in personality, more suited to fantasy than reality, and I’ve always loved the nomadic, creative life – the freedom to decide the life I want to live, even if it’s not secure at all.

CM: What have been the highlights of your working life thus far?
CO’S: One of the early highlights was being spotted at Edinburgh Fringe in my first year – worth the risk taken and money lost! – and getting a role in Stephen Frears’ film ‘Mrs Henderson Presents’, alongside Judi Dench, Bob Hoskins and Will Young. 

Performing headline gigs at the Royal Festival Hall, Sydney Opera House, playing on the BBC’s ‘Later With Jools Holland’, and being chosen by Yoko Ono for Meltdown were all incredible moments.

Even though I often feel like my life is falling apart – something I’m embracing in this show in a playful way – it was lovely to be presented with a Chevalier French knighthood from the French government, and to win an architectural award in 2025 from the Royal Institute Of Ireland for the design of our house.

I may now retire, and go and make jam in the west of Ireland… slightly joking!

CM: What are your favourite venues and places to perform in?
CO’S: I was completely enchanted the first time I performed in the Spiegeltent – such a perfect, intimate jewel of a space where everywhere is the stage.

I ran away with the circus ‘La Clique’/’La Soiree’ all over the world – every parent’s nightmare – and was nicknamed the “Spiegel cat and her basket”.

I adore Wilton’s Music Hall, and Union Chapel has a spiritual beauty that’s unmatched, especially lit with hundreds of candles.

I’ll never forget performing in the Royal Albert Hall, the Roundhouse, the Royal Festival Hall or the Sydney Opera House – it’s wonderful, almost like swimming/singing in architecture. 

Feargal and I also love performing in churches. That’s where I first learned to sing, in a tiny Protestant congregation by the sea, out of tune with only four in the choir, birds flying around in the dusty church, running up the back lanes in our very nationalist village.

There’s such joy in performing in these incredible rooms, with lovely audiences. I tend to be in the moment and then wake in shame at 4am going “did I do that!!”

CM: What aims and ambitions do you have for the future?
CO’S: I have several shows in my head – one called ‘Girl’, which will be at Union Chapel next November.

Beyond that the list is long and nicely bonkers, I want to learn painting, handstands, roller-skating, trapeze, the splits and perfecting a ‘Saturday Night Fever’–style John Travolta dance, singing in the rain, retro hairstyles — the list goes on and on!

For me, life and creativity are about exploring, experimenting and staying curious. I love having a wide canvas for the things I want to try, whether on stage, in the studio, or just playing around with movement and expression.

CM: What’s coming up next for you after this?
CO’S: I’ll be touring Ireland with Sharon Shannon, Hothouse Flowers, Liam Ó Maonlaí and Steve Earle. After that, we’ll be in the studio finishing our record.

I’m also looking forward to catching up with friends, eating everything and creating a magical “Narnia room” in the house for my little one and my partner.

And, of course, spending time with my beloved cat Goo Goo and my crazy, gorgeous springer spaniel Bonnie.

‘Loveletter’ is on at Soho Theatre from 24 Nov-6 Dec, see the venue website here for more information and to book tickets. 

LINKS: sohotheatre.com | camilleosullivan.com | x.com/Camilleos