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Laura Lynch
Laura Lynch
Laura Lynch
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Laura Lynch is a Canadian television and radio journalist for CBC News,[1] who hosts CBC Radio’s weekly show What on Earth. Previously, she was a frequent guest host of CBC Radio's daily morning news program The Current.[2]

After studying law at the University of Victoria and journalism at Carleton University, she began her career with the CBC as a legal affairs reporter covering stories in the Department of Justice and the Supreme Court of Canada.[3] She won the Law Society of British Columbia's award for Excellence in Legal Journalism,[4] and was nominated for a Jack Webster Award, for her reporting on the Supreme Court case R v O'Connor.[5] She received the Martin Wise Goodman Nieman Fellowship the same year, and spent a year studying human rights at Harvard University.[3]

She was subsequently a foreign correspondent based in Washington, D.C., and London, as well as travelling to report from various international locations including Afghanistan, Pakistan, Israel, Saudi Arabia, Zimbabwe, and Syria, before returning to Canada as a national affairs reporter in Vancouver.

In addition to her appearances as a guest host of The Current, she was the program's regular interim host in 2019, between the retirement of Anna Maria Tremonti and the debut of new host Matt Galloway in January 2020.[2] She is currently the host of What on Earth, a weekly CBC Radio show on environmental issues.

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Laura Lynch

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Laura Lynch (November 18, 1958 – December 22, 2023) was an American and bluegrass musician recognized as a founding member of the Dixie Chicks, where she performed as bassist and co-lead vocalist from the band's inception until 1993. Raised on her family's ranch in —a remote community in Hudspeth County—Lynch co-founded the Dallas-based quartet in 1989 alongside , (both née Erwin), and Robin Lynn Macy, initially blending bluegrass traditions with influences through street performances and regional gigs. The group released three independent albums during her tenure: (1990), (1992), and (1993), establishing an early fanbase in country circuits before commercial breakthroughs. Lynch left the band amicably in 1993 to prioritize family life, later expressing satisfaction with her decision despite the Dixie Chicks' subsequent ascent to global stardom following ' addition as lead singer. In later years, she resided in the Fort Worth area, pursuing interests such as and maintaining ties to ranching heritage, while occasionally reflecting on her foundational role in a group that would sell over 30 million albums worldwide post-departure. Her death occurred in a on U.S. Highway 62 near , when her eastbound vehicle was struck by a westbound attempting to pass two other ; she was pronounced dead at the scene at age 65.

Early life

Upbringing and musical influences

Laura Lynch was born on November 18, 1958, in , a remote farming and ranching community in Hudspeth County approximately 100 miles southeast of El Paso. As one of seven children, she grew up in a family with deep roots in the area; her parents and uncles numbered among the early settlers who began tapping underground aquifers for in the , enabling the region's limited agricultural development amid its arid conditions. Lynch's upbringing emphasized cultural and artistic pursuits despite the isolation of Dell City, with her parents ensuring access to classes and other enriching activities. From childhood, she exhibited a natural aptitude for performance, frequently singing show tunes and emulating entertainers like , as recalled by longtime friend Kathy Farmer Robertson. She later attended and graduated from Coronado High School in El Paso, where her background fostered an appreciation for regional traditions that would inform her later musical endeavors. While specific details on formal musical training remain scarce, Lynch's early vocal talents and rural environment—characterized by close-knit communities and exposure to folk traditions—laid the groundwork for her self-developed skills in and string instruments, including the , aligning with the bluegrass and styles prevalent in local scenes. Her family's pioneering spirit and the practical demands of farm life instilled resilience and a grounded perspective, elements that permeated her approach to music.

Musical career

Formation of the Dixie Chicks

Laura Lynch co-founded the Dixie Chicks, an all-female bluegrass quartet, in , , in 1989 alongside sisters Martie Erwin (later Martie Seidel) and Emily Erwin (later ), and guitarist Robin Lynn Macy. The group's name derived from Little Feat's song "," reflecting their roots in traditional and bluegrass traditions. The original lineup featured acoustic instrumentation suited to bluegrass performances, with Martie Erwin on , Emily Erwin on , Robin Lynn Macy on guitar, and Lynch on upright bass. Lynch also served as a , sharing duties with Macy, which allowed the band to deliver close-harmony vocals during sets. This configuration emphasized authentic bluegrass elements, performed at local venues and events to cultivate an audience rooted in the regional scene. Through relentless live gigs at small clubs, festivals, and street corners in the area, the Dixie Chicks developed a dedicated regional following by the early , operating independently without affiliation to a major . Their early success stemmed from high-energy performances that showcased technical proficiency and harmonious interplay, establishing a presence in bluegrass circles.

Role and contributions to early albums

Laura Lynch provided lead vocals and played upright bass on the Dixie Chicks' debut independent album, , released in 1990. Her vocal performances, characterized by a clear, twangy delivery suited to the album's bluegrass-infused , complemented the harmonies of bandmates Martie and Emily Erwin, establishing a foundational close-knit sound rooted in and traditional Americana elements. Lynch's bass work anchored the rhythm section, supporting the and leads from the Erwin sisters while contributing to the album's energetic, grassroots appeal that built a dedicated regional following in through live performances and local radio play. On the follow-up album, , released in 1992, Lynch continued as primary vocalist and , though her instrumental role occasionally shifted to focus more on singing amid lineup changes following Robin Lynn Macy's departure earlier that year. Her contributions emphasized harmonic depth, with lead and vocals driving tracks that blended with acoustic , further refining the band's technical cohesion and cowgirl-themed aesthetic. These independent efforts, produced without major-label backing, achieved modest sales and acclaim in the Southwest, selling thousands of copies regionally and solidifying the group's reputation for authentic, fiddle-driven before their commercial breakthrough. Lynch's dual role enhanced the albums' live-wire energy, influencing the band's evolution toward broader appeal while preserving its bluegrass- core.

Departure from the band

Laura Lynch departed the Dixie Chicks in 1995, after having assumed lead vocal responsibilities following Robin Lynn Macy's exit in 1992. The band's remaining members, Martie Seidel and Emily Erwin, indicated that Lynch had been considering a departure for some time, amid discussions about evolving the group's direction ahead of a potential major-label signing. This transition occurred as the Chicks sought a fresh vocal approach, leading to the recruitment of Natalie Maines—recommended by her father, producer Lloyd Maines—as Lynch's replacement, which introduced a more contemporary stylistic shift while preserving the core instrumentation. Lynch's decision stemmed from the intensifying demands of the band's touring schedule, which had separated her from her young daughter, , who resided with Lynch's parents during extended road commitments. In a 2003 interview, she described quitting the music touring lifestyle to prioritize raising her daughter in , emphasizing personal family balance over professional obligations. Although Lynch later noted that the exit was not solely her idea, band statements and her own reflections confirmed an absence of personal conflict, with the group mutually agreeing to refrain from public details about the internal discussions. The amicable nature of the split is evidenced by Lynch's subsequent expressions of support for the band's trajectory and lack of regrets, as well as positive tributes from former bandmates upon her death in 2023, underscoring a focus on life priorities rather than discord. This departure marked the end of ' independent bluegrass phase, bridging to their commercial ascent without reported lingering tensions.

Later career and activities

Transition away from music

Following her departure from the Dixie Chicks in 1993, Lynch discontinued all professional involvement in music, forgoing any solo recordings, performances, or side projects in the industry. No evidence exists of subsequent musical output or engagements under her name in country or related genres. This withdrawal represented a full pivot from pursuits, as Lynch pursued roles outside creative performance, including at the University of Southwestern Medical Center in . Her career trajectory post-1993 showed no return to touring, recording, or industry affiliations, underscoring a deliberate exit from the public sphere. Relocations within , such as to Weatherford by the late , aligned with this emphasis on personal stability rather than professional musical ambition. The absence of any documented music-related activities thereafter confirmed the permanence of her disengagement from the field.

Community involvement in Texas

Following her departure from the Dixie Chicks in 1993, Lynch established a stable residence on a near , prioritizing a low-key detached from public performance. This post-1997 period marked her shift toward grounded routines, including work in the rare earth minerals sector, while fostering informal ties in regional networks. Lynch actively reconnected with social circles in Fort Worth and her West Texas hometown of , where local accounts portrayed her as a "force of nature" characterized by relentless energy, humor, and generosity. She cultivated enduring friendships, such as with Kathy Farmer Robertson, to whom she gifted whimsical items like stuffed and urged investment in Dell City properties to bolster community vitality. In Fort Worth, she participated in events alongside companions like Therese Moncrief and Claire Barry, offering spontaneous support through acts like distributing stuffed animals among peers, reflecting her unassuming yet influential presence in casual gatherings. Her contributions to culture remained informal and tied to personal passions, including renovations of structures in Dell City starting in the late 2000s to create rentals for hikers and visitors near , thereby aiding low-key economic and recreational access without assuming official positions. Lynch also backed local institutions such as the National Cowgirl Museum and the through attendance and advocacy, emphasizing her affinity for regional heritage over structured involvement.

Personal life

Family and relationships

Laura Lynch married Mac Tull, an old family friend, in 1997 following their reconnection at an open house event. Tull, who reportedly won $26.8 million in a prior to their marriage, enabled the couple to establish a settled domestic life in . Lynch and Tull had one daughter, Asia, whom Lynch prioritized raising after departing the Dixie Chicks around 1993–1995. Her decision to leave the band was influenced by a desire to focus on motherhood and home life, as she had a young daughter at the time and sought stability over touring commitments. No additional children or marital separations are documented in available records, reflecting a period of domestic continuity in Texas.

Interests outside music

Lynch exhibited a strong affinity for culture, particularly the small-town lifestyle of , where she embraced local traditions and maintained deep ties to places like Dell City. Her personal pursuits reflected a preference for low-key, private activities over public exposure, as she minimized discussion of her past fame and focused on contentment in everyday roles. She stated, "I’m just happy being a mom and a wife and living my life," underscoring her satisfaction with a quiet existence surrounded by loved ones. Among her hobbies, Lynch enjoyed painting, often engaging with local artists, and played competitively with friends. She was fluent in Spanish, hosted guests in a dedicated wine room at her home, and participated in horseback riding, aligning with her broader appreciation for Western pursuits. Lynch also demonstrated a gift for design, which extended to personal creative endeavors. She prioritized reconnection with pre-fame friends, such as spontaneously gifting stuffed animals to childhood acquaintance Kathy Farmer Robertson during visits. Family-oriented leisure included spending time with her grandsons, emphasizing private, relational joys over broader social engagements. Throughout her later years, Lynch sustained an apolitical profile, with no recorded involvement in public advocacy or partisan activities.

Death

Circumstances of the accident

Laura Caroline Lynch, aged 65, died on December 22, 2023, in a in Hudspeth County, , while driving eastbound on near Cornudas. She was operating a Ford F-150 when it was struck by a westbound Dodge Ram that had entered the eastbound lane in an attempt to pass another vehicle on the undivided highway. The reported the crash occurred around 5:45 p.m. local time, with Lynch pronounced dead at the scene due to the impact. The other driver's vehicle subsequently caught fire, but the occupant sustained non-life-threatening injuries and was transported to an El Paso hospital. The incident dynamics, as detailed in the official investigation, highlight the hazards of passing maneuvers on two-lane rural highways.

Immediate aftermath and tributes

The Texas Department of Public Safety confirmed on December 23, 2023, that Laura Lynch had died at the scene of a on U.S. Highway 62 in , the previous evening. Her cousin, Michael Lynch, also verified her death to , noting the incident occurred near El Paso. The Chicks released an official statement on that same day, expressing profound shock and describing Lynch as a foundational influence: "We are shocked and saddened to learn of the passing of Laura Lynch, a founding member of . We hold a special place in our hearts for Laura. She was a bright light… her infectious energy and humor gave a spark to the early days of our band. She had a love of all things , which she generously shared with ." Major news outlets, including and , promptly reported the event, emphasizing Lynch's role as bassist and vocalist in the band's formative years during the late 1980s and early 1990s. A memorial service for Lynch took place on January 6, 2024, in downtown El Paso, Texas, where friends and family gathered to honor her life and contributions. The service reflected her deep Texas roots, with attendees recalling her enthusiasm for the state and her early musical endeavors.

Legacy

Impact on country music

Laura Lynch co-founded the Dixie Chicks in 1989 alongside Martie and Emily Erwin and Robin Lynn Macy, providing upright bass and shared lead vocals that anchored the group's early bluegrass-infused country sound rooted in Western swing, cowboy songs, and traditional tunes. This formation marked one of the first all-female acts emerging from the Texas indie scene, performing busking sets on Dallas street corners and at bluegrass festivals to build a regional audience before broader commercial shifts in the genre. Following departure in 1992, Lynch assumed primary vocal duties, contributing to independent releases like (1990) and (1992), which emphasized authentic instrumentation and lyrical themes drawn from country foundations rather than pop elements that later dominated the band's output. Her resonant vocals and bass lines on tracks such as numbers helped maintain a purist aesthetic, demonstrating the viability of female-led ensembles in preserving bluegrass-country hybrids amid the live circuit. These efforts laid groundwork for the band's transition to major-label status in , with Lynch's era fostering a dedicated following through grassroots performances that predated the genre's pop-country crossovers and highlighted traditional sounds for subsequent regional acts. While empirical sales data for the early indie albums remain limited due to their small-scale distribution, the releases and live draws in the early scene evidenced growing interest in women-centric traditional , influencing local indie viability without reliance on mainstream polish.

Perspectives on the band's development

Laura Lynch's departure from the Dixie Chicks in 1995, motivated by fatigue from constant touring and a desire to prioritize family, facilitated the band's transition to a more mainstream sound under new lead vocalist . This shift propelled their 1998 Wide Open Spaces to commercial dominance, selling over 12 million copies in the United States and establishing it as the best-selling by any duo or group. The 's polished production and crossover appeal marked a departure from the group's earlier bluegrass-inflected, traditional roots during Lynch's tenure, which emphasized fiddle-driven authenticity over pop- accessibility. Critics of the band's post-Lynch trajectory argue that the embrace of mainstream commercialization, while yielding sales successes like Fly (1999) and Grammy wins, set the stage for politicization that eroded their traditional country base. Natalie Maines's March 10, 2003, onstage remark in —"Just so you know, we're on the other side of the world and I just want to say that we are ashamed the is from "—ignited widespread backlash, including radio blackouts across over 30 stations and public burnings of their albums by conservative fans who viewed it as unpatriotic amid the buildup. This incident, per analyses from country music observers, alienated core rural and Southern listeners who favored the apolitical, roots-oriented ethos of the Lynch era, contrasting sharply with the band's earlier avoidance of overt political stances. The 2020 rebranding to , prompted by associations of "Dixie" with Confederate symbolism amid racial justice protests, drew further criticism from traditional fans as performative and disconnected from the genre's heritage, exacerbating perceptions of left-leaning cultural alignment over fan loyalty. While the group achieved crossover acclaim and high streaming numbers post-rebrand, detractors contend this evolution prioritized progressive signaling—evident in support for causes like —over the uncontroversial, tradition-bound appeal that defined Lynch's non-involved, foundational phase. Lynch's absence from these developments highlights the original lineup's causal detachment from the politicized commercialization that, despite sales peaks exceeding 30 million albums worldwide by 2003, fractured the band's rapport with its audience.

References

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