An article by Aarik Danielsen for the Columbia Daily Tribune, published 19 July 2019.

Delighted to be in the studio in Columbia MO alongside composer inti figgis-vizueta, being interviewed by Diana Moxon for KOPN's 'Speaking of the Arts' program. 

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Speaking of the Arts - KOPN 89.5FM - July 29 2019. 

Speaking with Aaron Hay from KMUC 90.5FM Classical on the eve of the Missouri International Composers Festival. 

Glad to speak with Clarissa Sebag-Montefiore from The Guardian about gender equity in Australian classical music.

"Murphy built up a luminous sound world, electric guitar joining an insistent pulse and splashes of colour from Kanga’s piano, bongo and bass clarinet driving the work’s rhythmic section."

LimeLight Magazine reviews the Finale of the 2019 MusicaViva Festival, including the premiere of string octet Anamnesis, performed by the Dover Quartet and the Goldner String Quartet.

Celebrating the release of "Women of Note", three Australian composers talk to CutCommon about their music.

In interview with Elisabeth Blair, recorded for the Listening to Ladies podcast series.

In interview with Sascha Kelly, recorded for the Making Waves podcast series.

"The mood intensified in the next selection, Mandela Was Late by Nicole Murphy, featuring tenor Timothy Stoddard as Nelson Mandela’s overwrought and jaded parole officer and baritone Eric McKeever as Mandela. Murphy’s score is filled with jazzy syncopation and layers of repeated motifs underscored by the percussive and driven vocals of the parole officer. Stoddard was an exciting and kinetic performer, wholly embodying his character’s high-strung persona and displaying a beautiful voice and crystal-clear diction. McKeever was a stately and refined Mandela with a rich warmth and lyricism in his voice."

"Overall, the gorgeous orchestral writing evoked all the immensity and fullness of space rather than its cold emptiness"

"Murphy’s Spinning Top proved to be all charm and brilliance as she showed a keen ear for engaging sonorities."

"Murphy’s Stolen—a 2014 work full of exhilarating tension for clarinet, electric guitar, percussion, piano, violin, and double bass—was a real highpoint in an evening of highpoints."

An conversation with Robert McClure for Adjective New Music's Lexical Tones podcast.

"[Dearest Mother...] is a strong and compelling work, sensitively performed."

An article on Stolen, written for the Australian Music Centre's Resonate publication.

"Nicole Murphy's Temple Bell was an exquisite place to start: voices integrated seamlessly into the musical texture, with words coming later, all building to a delicate denouement."

"Timothy Harbour's Eve with music by Nicole Murphy shows how strong and sensitive that partnership between choreographer and composer can be." - Sydney Morning Herald, June 3-4, 200