Over the course of more than three decades, Shawn Colvin has established herself as one of America's most captivating performers and revered storytellers. From her GRAMMY-winning debut Steady On in 1989 through to the enduring success of A Few Small Repairs in 1996, she has built a remarkable catalogue defined by emotional honesty, lyrical precision and masterful musicianship.

Now, Colvin is returning to the UK and Ireland for a rare run of live dates in autumn 2026 to celebrate the 30th anniversary of A Few Small Repairs. Released in 1996, the album produced the era-defining hit Sunny Came Home, which reached the US Billboard Top 10 before winning both Song of the Year and Record of the Year at the 1998 GRAMMY Awards.

Ahead of the tour, we caught up with Shawn to reflect on the album's legacy, songwriting, guitar playing and what still inspires her after more than three decades in music.

Thirty years on, what surprises you most when you revisit A Few Small Repairs? Are there songs that reveal something new to you now that they didn't in 1996?

I don't really revisit the album much, to be honest. The songs have continued to evolve because I've played them live for 30 years, but I'm always looking forwards rather than backwards.

Sunny Came Home remains one of the most memorable songs of the 1990s. When audiences hear it today, what do you think they're connecting with most strongly?

From what I've heard, people react to the mystery in Sunny's story. What was she building? Why did she want to burn the house down? Who was on the list of names?

You've often been praised for writing songs that feel intensely personal yet universally relatable. What's the secret to turning a private experience into a song that resonates with thousands of strangers?

Several things are in play when a personal song resonates with an audience. The song has to convey honesty, and the writer must take some kind of risk to get that across. For me, the absolute litmus test for finding out if my song works is to play it live in front of people. If it's not truthful and relatable, I can tell right away.

Looking back at the woman who made A Few Small Repairs, what advice would today's Shawn give her – and would she listen?

The 'me' who made that record was spot on with her approach – she wouldn't need advice. John Leventhal and I followed our instincts 100 per cent and honestly didn't care if the project yielded a hit song. We never thought of ourselves that way, and we let go of catering to that notion that came from the record company. As a result, there's not a note or lyric I would change on it. And we got a hit song anyway. Follow your gut; don't rush; don't compromise. That's what we did.

Your lyrics are full of wit, observation and subtle turns of phrase. Do great lines arrive unexpectedly, or are they usually the result of painstaking craftsmanship?

Good question. In my world I'll take a great lyric any way I can get it, and it's usually from a combination of total despair alongside eureka moments. Then there are those rare times, usually when I'm not even trying, that something just magically drops into my lap, seemingly out of nowhere. This often happens when I'm resting or sleeping or just disengaged with the writing process. You have to take breaks.

You've toured for decades and played everywhere from intimate rooms to major festivals. Is there a particular UK or Irish audience that has left an unforgettable impression on you?

All of them!

As a guitarist, you've inspired generations of singer-songwriters. Is there a guitar technique or musical habit you've spent years perfecting that audiences might not even notice?

I have a few artists I credit with influencing my playing. The first is my father, who taught me to play when I was 10 years old. He was heavily influenced by folk music artists like Pete Seeger and The Kingston Trio. My big breakthrough around that time was learning how to fingerpick.

I fervently sought to imitate Joni Mitchell's guitar style and did my best, mostly by teaching myself to dampen the ring of the chords by hitting the strings with the underside of my thumb and wrist, thereby creating a percussive sound, like a foot tap. Her open tunings informed my sound massively. The same goes for Richard Thompson and his tunings, not to mention his unparalleled guitar prowess, both acoustically and electrically.

You've written songs, a memoir and countless stories from the stage. Which medium feels most revealing: songwriting, prose or live performance?

Live performance without a doubt. Anything can happen.

After thirteen albums, multiple GRAMMY Awards and decades of touring, what still gives you the biggest thrill: writing a new song, recording it or performing it live?

Writing a new song is one thing. Finishing it is the ultimate thrill.

You're returning to the UK and Ireland for a celebratory tour. If audiences could take away just one feeling or idea from these anniversary shows, what would you hope it would be?

I believe the intent of any artist is fairly simple. It is simply to move people in any way, shape or form. That could be rapture, heartbreak, humour, love, anger, revelation or some unnameable emotion that can't be described. No matter what that feeling is, it is informative to the listener in many capacities, and every listener will have their own unique reaction.

The thing I fear the most is a song of mine feeling utterly boring, impossible to relate to, and forgettable. I just want to inspire something in you.

Shawn Colvin – 30 Years of A Few Small Repairs UK & Ireland Tour 2026
Shawn Colvin returns to the UK and Ireland this autumn for a rare headline tour celebrating the 30th anniversary of A Few Small Repairs. Tickets are on sale now.

Tour dates

8 October 2026 – Sheffield, Upper Chapel

9 October 2026 – Leeds, City Varieties Music Hall

11 October 2026 – Bury, The Met

12 October 2026 – Liverpool, Philharmonic Music Room

13 October 2026 – Glasgow, Òran Mór

15 October 2026 – Gateshead, The Glasshouse ICM

16 October 2026 – Edinburgh, Queen's Hall