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Sorcha Richardson

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Sorcha Richardson

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Brilliant gig. She's really good and has a natural playful energy on stage that lights up the whole room. The smoke machine went a bit Doctor Who at one point but they played on through :)

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Most played:

• Dublin (26)
• New York (NYC) (8)
• Limerick (6)

Appears most with:

• Villagers (10)
• Susan O'Neill (6)
• James Vincent McMorrow (4)
• Negro Impacto (4)

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Sorcha Richardson Concert Setlists & Tour Dates

Sorcha richardson at fairview park, dublin, ireland.

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Sorcha Richardson at National Concert Hall, Dublin, Ireland

Sorcha richardson at st. luke's church, cork, ireland, sorcha richardson at holocene, portland, or, usa.

• Spotlight Television
• First Prize Bravery
• Map of Manhatten
• Oh Oscillator
• Jenny Was a Friend of Mine
• Smiling Like An Idiot
• Ruin Your Night

Sorcha Richardson at Fremont Abbey Arts Center, Seattle, WA, USA

Sorcha richardson at 7th street entry, minneapolis, mn, usa, sorcha richardson at the foundry at the fillmore, philadelphia, pa, usa, sorcha richardson at reeperbahn festival 2023, sorcha richardson at all together now 2023, sorcha richardson at body & soul festival 2023.

Sorcha Richardson

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Most played songs

• Don't Talk About It ( 18 )
• First Prize Bravery ( 16 )
• Ruin Your Night ( 14 )
• High in the Garden ( 13 )
• Red Lion ( 12 )

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The Killers

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Sorcha Richardson: ‘Two years ago my entire band lived in Dublin. Not a single one of us live there now’

The songwriter, who has recently toured with villagers and collaborated with ellie goulding, moved to kerry on her return to ireland.

Sorcha Richardson: 'It was too difficult to say to myself that I was fully moving home. That felt like a bit of bitter pill to swallow.' Photograph: Brent Goldman

When Sorcha Richardson was about four, she sat behind the couch in her family’s house in Dalkey, Co Dublin, while an Ireland soccer match was on television, and on a Fisher Price tape deck recorded a full cassette of songs she had heard, and ones she had made up. This thing, which continued when her grandfather gave her his keyboard when she was about six or seven, was the birth of her creativity.

One of Ireland’s most intriguing songwriters, Richardson has two albums to her name: 2019′s First Prize Bravery, and 2022′s Smiling Like an Idiot. She is preparing for concerts this month at the National Concert Hall in Dublin, St Luke’s in Cork, as well as Dolan’s Warehouse in Limerick and the Róisín Dubh in Galway. Her creative intentions were obvious form an early age, but the path has been winding.

At the Other Voices festival in Dingle last year, Richardson and the actor Eve Hewson sat in the back room of Foxy John’s pub for Jim Carroll’s interview series, Banter. For those who didn’t know the connection, it felt like a curious pairing. Yet Hewson played a key role in Richardson’s musical progression. They are close friends, former schoolmates at the Dalkey School Project, and as children formed a band with a third friend, Adam Purcell (now a chef), called Ten Past Two, named for the time they got off school. To much laughter in Foxy John’s, they performed a song they had written as preteens, titled, with a seriousness only 10-year-old composers can muster, She Only Wants You for Your Money.

Sorcha Richardson in Dingle for Other Voices. Photograph: Rich Gilligan

“We were so serious about the band,” says Richardson now. “There was an intensity and a loyalty to it. Even then I was like: we’re in a band, and we’re going to be in a band forever. We were 10. We made posters for gigs that didn’t exist. We had meetings twice a week, about our band name and whether we should change it. We never did anything, we didn’t record anything, we didn’t play anywhere, but we talked about it like we were proper full-time career musicians, which is kind of hilarious.”

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Richardson is explaining this, along with her childhood obsession with Harriet the Spy, in a bar in Bushwick in Brooklyn in New York called Honey’s, which specialises in naturally crafted small batch meads fermented in barrels using wild yeast and foraged herbs. The inevitably obtuse cocktail menu’s intentions are somewhat lost on both of us. “Should I eat this?” asks Richardson, confused by a sprig of burning lavender balanced delicately on the rim of her cocktail glass. Nearby is the venue Elsewhere, where she’ll play that night as part of a tour of more than two dozen North American cities.

New York is a second home to her now. Richardson arrived here aged 18 in 2009, as a student at The New School with part-scholarship and part-funding, to embark upon a creative writing programme. New York was a bold choice for a teenager, but she knew a few others intending to study there, including her old bandmate Hewson, who ended up at NYU. Richardson was in a dorm on the edge of the East Village, the only Irish person she knew of in a building of about 800 students. “I thought I’d just try it for the year ... Within about a week of being here, I was like, I’m obviously not going home.”

She began playing open-mic nights. “I played Rockwood Music Hall, Cameo Gallery, Glasslands, The Bitter End, Pete’s Candy Store – at one point it felt like I had a residency there – The Knitting Factory, SOB’s ... One time I did a gig in The Delancey to my friend Dan and the bartender.”

[  Sorcha Richardson: ‘You learn the hard way that there’s validity in your own ideas’  ]

She considered journalism, but baulked when tasked with an on-street vox-pop in her first journalism class, and sat on a bench instead of interviewing strangers. She wrote what she describes as “barely fiction” stories about people she knew, and her life as an Irish person in the city. “Sometimes when you move away from home you notice things about your culture that you don’t before.” What became obvious was her drive to write songs. In the evenings, she would finish her classwork rapidly, and spend her time making demos. One day, while she was interning at Domino Records, the Irish musician Conor O’Brien of Villagers visited. Richardson, then a huge Villagers fan, drummed up the courage to say “Your music is great”. His life as a touring musician, something she longed for, felt distant.

She stayed in New York after college, playing gigs and writing songs. When she released the track Petrol Station in 2015, with money she had earned from a teaching gig, it garnered airplay on BBC Radio 1, and record labels called. But she had no team around her, and was struggling to strategise. In 2017, after eight years in New York, the lease was up on her apartment, her visa was ending, and although she was working with a Los Angeles label, the reality of forging a music career in New York was biting. When she was offered an east coast tour with a band she loved, she couldn’t afford to rent a car, thought about taking trains, but didn’t have the money for hotels either.

She moved back to Dublin, but was in denial about returning to Ireland. She left instruments and suitcases of clothes in friends’ apartments. She even left a goldfish with a friend, and talked about going to LA, where she spent months of her first year back in Ireland. “It was too difficult to say to myself that I was fully moving home. That felt like a bit of bitter pill to swallow,” she says. “If you move to New York at any age with a dollar and a dream, and you leave with no dollars and your dream is spinning, it just felt: Jesus, what did I spend my time doing? Now I look at it and I see that I was doing exactly what I was supposed to be doing; growing up, making friends, living your life, learning how to write songs, learning how to perform.”

The music scene in Dublin was a safety net. She made money from gigs and found a tribe of musicians. It’s somewhat ironic that being in Ireland means she can tour the US. “Now I have Irish management, an Irish label. [On] my last album, all the musicians are Irish, recorded in an Irish studio. I’m so, so glad I had to stay long enough for me to realise it was actually the best place for me to be.”

[  Sorcha Richardson: Smiling Like an Idiot — a superior second album in every way  ]

Richardson’s music – tender, cinematic, atmospheric, with lyrical scenes unfolding on streets, in bars, at parties – has a night-time flavour. She writes songs that sometimes feel handed to the listener like small creatures needing protection. Occasionally they can initially even seem a little slight, until their fabric grows like vines, gripping and pulling. They also contain a remarkable intelligence for melody. Her latest release, Map of Manhattan, may be her finest song yet.

Richardson is a songwriter’s songwriter. One day, on a train to Dingle, she noticed a direct message on social media from Ellie Goulding. Initially thinking it was a fake account, she moved to report the message as spam, but checked the sender and noticed it had 14 million followers. Goulding was getting in touch about Richardson’s song, Shark Eyes, to tell her she loved it, and would like to cover it.

Goulding’s cover is robust and raw . Clearly enamoured of Richardson’s talent, Goulding asked if they could write together. “It was amazing writing with her,” says Richardson of the experience this year. They sat in a studio in London for two days, just the two of them and an electric guitar, and wrote a song for Goulding. “She’s a really good songwriter, really good, really great lyricist ... I was ready to go in and write a pop song, which is not what we did at all, which I thought was really cool. Who knows?” she says of that song’s future.

That early moment of fandom with Villagers has come full circle too. Last year Richardson was the special guest on Villagers’ European tour. And yet, like many artists, it became increasingly difficult for her to live in Dublin. Richardson is part of a wave of Dublin artists who have left the capital. She moved to west Kerry earlier this year. “I find it incredibly upsetting and frustrating,” says Richardson. “Two years ago my entire band lived in Dublin. Not a single one of us live in Dublin any more, and I’m the only person who still lives in Ireland.” It’s not that she doesn’t love west Kerry. She says it’s an amazing place to be; her two favourite views in the world are coming over the bridge from Brooklyn to Manhattan as the famous skyline comes into view, and Slea Head.

“It doesn’t have to be that way,” she says of sky-high rents in Dublin and other Irish cities. “It’s a choice that people in government are making. We could have affordable rent if we decided to have affordable rent, and affordable housing ... It’s going to have an incredibly damaging effect on Irish arts and culture. It already is ... I moved home to Ireland and it kind of changed my life for the better ... I feel way more inspired in and by Ireland than I did in New York to a certain degree. But it doesn’t feel that the systems that we have are interested at all in fostering or supporting that. But they do like to march it out and say: ‘Come and see us for arts and culture’.”

Later that evening, on a calm Brooklyn night, Richardson works through her catalogue to sways and applause. The next day she and her band hit the road for the next city, bringing songs forged in New York, Dublin and Dingle, embraced in every place.

Sorcha Richardson plays the Róisín Dubh in Galway on November 25th, the National Concert Hall in Dublin on the 29th, Dolans Warehouse in Limerick on the 30th, and St Luke’s in Cork on December 8th

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Sorcha Richardson

Opening with Honey, a startling reflection on the power of encountering love, Richardson lulls the listener into a captivating 10-song odyssey of impeccably crafted folk rock and pop with some fine electronic flourishes...Richardson creates a rich and unique soundscape for each of her songs to inhabit. First Prize Bravery is a riveting debut. – The Irish Times ★★★★Everything, of course, is a foil to Richardson’s voice, which can only be described as laidback liquid gold. It draws you into these personal situations, and lays them out like an open diary, judgement-free.Bravery indeed. This is a superb record. – Hotpress 9/10Sorcha scores heaps of charm and charisma on this full-length debut – DIY ★★★★After multiple listens, I must admit that I still can't quite comprehend the immensely human and authentic talent that courses through this ten-track release. – Earmilk ★★★★Irish singer-songwriter Sorcha Richardson has been cultivating a cult fanbase for several years. Songs such as ‘Ruin Your Night’, ‘Petrol Station’ and ‘Can’t We Pretend’ are evocative vignettes of a moment in time which find the poetry in introspection, with a tangible nod to key influences such as Sharon Van Etten, Arcade Fire, Phoebe Bridgers and Julia Jacklin.Exuding passion and tender beauty in equal measure, her narrative song-writing connects with people who have shared similar tangled emotions - as evidenced by 30 million streams at Spotify alone.In November of last year, Richardson released the biggest artistic statement of her career with her debut album, First Prize Bravery, winning praise from The Irish Times, DIY Magazine and Nylon, and later being nominated for the RTE Choice Music Awards for Irish album of the year. It’s a collection of lyrical snapshots of life as a twentysomething, accompanied by the desires, doubts and developments that the decade delivers.It’s been a long road to reach this moment. Richardson left home for Brooklyn as a teenager to study creative writing. She’d assumed her background as a drummer would lead to her playing in a college band, but instead she ended up recording lo-fi demos in her dorm. Picking up traction on SoundCloud gave her the confidence that she could sing, while her studies sharpened her lyrical focus.Moving back to Dublin inspired her to take stock of where she was. A new rush of ideas soon followed, with Richardson writing the likes of ‘False Alarm’ and ‘First Prize Bravery’ on the piano in her parents’ kitchen. An impromptu session with All Tvvins’ Conor Adams yielded ‘No-One Is Any Fun’, which features on their album ‘Just To Exist’, and ‘Twisting The Knife’ which is included on Sorcha’s album.The final piece in the puzzle took an almost interventionist turn. Richardson was visiting friends in Los Angeles when she ran into Alex Casnoff, the producer of several of her singles and previously a member of the bands Dawes and Harriet. He’d been focusing on film projects rather than music, but the pair reignited their connection with Casnoff coming on board to produce the entire record. They completed the album within a month, with Richardson contributing vocals and guitar, and Casnoff synths and piano.Sorcha celebrated the release of her debut album with a sold out Irish tour in November, and a series of festival and headline shows in the UK and Europe in late 2019 and early 2020, including Repperbahn in Germany, Eurosonic in the Netherlands and Mirrors Festival in London.

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On the Rise Sorcha Richardson

Original Photography by Molly Keane

While Irish songwriter Sorcha Richardson discovered her voice in New York, she's firmly found her footing in her hometown of Dublin.

“All I wanted to do was be a drummer,” the indie-folk singer confesses as we catch up over Zoom on a sunny August afternoon. “Except, I also wrote songs and felt weird about other people singing them.”

Speaking from a friend’s house in Dublin ahead of the release of her second album Smiling Like An Idiot , she laughs as she recounts how she’d drum in bands as a teenager and then write deeply personal songs in her bedroom. It’s a conundrum she’s obviously overcome, although it took time.

Following the release of deeply affecting first single “Archie” and touring Europe with folk band Villagers in May, she performed special shows in London and LA in addition to supporting Mitski at her sold-out Belfast and Dublin dates in June. Now, catching a breath after a busy summer, she’s gearing up to go it alone on her first headline European tour since the pandemic brought shows to a halt.

The 31-year-old singer-songwriter released her first EP after completing a degree in creative writing at the New School in New York, quickly attracting a committed fanbase and critical acclaim for her misty-eyed folk and breezy indie pop. Prior to releasing her debut album First Prize Bravery in 2019, Richardson had already racked up eye-watering streams on tracks such as “Ruin Your Night” and “Last Train” – and she can count on actress Chloe Grace-Moretz as a fan, setting Richardson’s phone alight in 2017 when she tweeted the hypnotic track “Petrol Station” to her legion of followers.

Millions of streams notwithstanding, Richardson is still very much an underdog in the burgeoning Irish music scene, and this yet-to-breakthrough status is reflected by her refreshing candour and easygoing personality. She routinely punctuates her more serious observations and comments with self-effacing jokes, showing she doesn’t take herself overly seriously.

Richardson’s musical journey commenced as a guitarist and then drummer in bands at school. She went to a state school in Dalkey, a Dublin suburb known for its relative affluence. “When people joke about being from a place in South Dublin, the place where I grew up is where they joke about,” she laughs. While her school didn’t specialise in music, she was grateful to have a “really great” music teacher who furthered her musical inclinations.

Her first instrument of choice was the guitar, and by the age of ten Richardson had already formed a band with two friends from her after-school guitar lessons. “We’d show up to school with our guitars on our backs, and the place we’d go [for lessons] was about a ten minute walk away so we’d stop at the shop and get loads of sweets first.”

The sugar rush accompanied a frenzied start as a songwriter. “As soon as I could play a few chords I just started writing songs. Two other guys in the guitar class asked me to be in their band and we had a rivalry,” she recalls, smiling. “At that point I didn’t understand you could be in two bands at one time; I felt loyal to my original band and I stayed with them.”

Her dedication to band life didn’t waver. “We took the band very seriously. We’d make posters for our band, and we’d question each other's commitment to the band. I mean we were ten but I loved it.”

Despite remaining in musical groups all through her adolescence, Richardson stuck to her drum kit and shied away from the mic, content to keep her voice to herself. In fact, it wasn’t until she was living as a student in New York – sans treasured drum kit – that she first unveiled her vocal pipes to the world (or rather to the ears of strangers at various open mics in the confines of basement Manhattan dive bars).

The fresh and frenetic energy of the Big Apple encouraged her to step into a more confident version of herself; someone who was no longer afraid to sing in front of people nor hesitant to brazenly chase her dreams. “I remember feeling that anything could happen at any moment. [I had] this unbelievable sense of possibility and spontaneity,” she explains.

The celebration of open ambition and hustle that is intrinsic to American culture was a clear contrast to the more restrained and humble Irish way of life. “Sometimes in Ireland we can be a little bit shy about our ambitions but in America nobody is. People talk about their dreams and aspirations much more confidently than we seem to do here, but even then I wouldn’t tell my friends in college that I was doing open mics. I did eight of them before I invited anyone.”

As the late summer sunlight pours into the living room, Richardson recalls how she felt stepping onto the stage and singing for the first time. “I felt physically terrified. I was thinking, ‘why did you put yourself in this situation Sorcha?’. There was so much dread, regret and almost serious annoyance with myself that all of my decisions had led me to this moment,” she says, laughing. “Then I did it and I was like, ‘that was bad, but maybe next time it’ll be a bit better’. I had this idea that if I did it enough times, I would get less scared. My desire to do it was always greater than my fear of doing it,” she reflects.

"To live in America is hard when you’re not from that country and you don’t have a lot of money. There’s these things that you don’t think about when you’re 18 and moving to New York."

Richardson was stateside for eight years and in the period after finishing her degree she released music online, toured the States, and collaborated with producers in Los Angeles who would go on to work on her debut and sophomore album. Her decision to move back to Ireland at the age of 26 was the result of being unable to afford to attempt to make it as a musician there any longer.

“I feel like I did everything I could do in New York – but I also felt like I didn’t. To live in America is hard when you’re not from that country and you don’t have a lot of money. There’s these things that you don’t think about when you’re 18 and moving to New York, like, I wasn’t thinking about health insurance,” she explains, before adding: “There was one time when I had to turn down a tour because I didn’t have a car.”

There’s a line in her most recent single “Shark Eyes” that pointedly speaks to her experience of living in and leaving New York: “My love, you’re the New York dream / we were nothing at all, we were everything.” Alongside a dreamy soundscape of heartbeat synths and her signature spine-chilling vocals, through her lyricism Richardson evokes the mild psychosis of knowingly running headfirst into a relationship with someone who isn’t as interested in you as you are them.

Across Smiling Like An Idiot , recorded in her grandparents’ living room via Zoom sessions with LA based producer Alex Casnoff, there is a recurrent theme of self-sabotage in the midst of finding love and happiness. “Some of the first songs on the record are all about how I obstruct my own journey to happiness. ‘Stalemate’ is about letting someone in your life and being really happy about that and then all of a sudden being like, ‘Oh fuck you’re going to find out who I really am and what are you going to do when you know that?’. There are a few songs that are bouncing with joy, but even in those there’s an undercurrent of anxiety around the prospect of loss.”

In the case of the catchy “Spotlight Television”, the cause of anxiety is external to Richardson as its lyrics grapple with unwanted attention; a side-effect of being queer and in love. Dealing with “situations in which you censor yourself a little bit because you see someone else getting uncomfortable,” she admits it was hard to write, and re-wrote the song more times than any other track, although it’s now the most “cathartic and fun to perform.” Richardson has an eye for seeing the magic in the mundane, which comes across in the arrestingly forthright lyrics sprinkled across this record and her previous effort First Prize Bravery . She documents the moments between lovers that might look small or inconsequential on the outside, but are seismic exchanges that can dramatically shift the trajectory of a relationship.

Finding herself back in her parents’ house, after eight years of living independently in one of the biggest cities on earth, felt as if the “rug had been pulled a bit under me,” she says. “All of a sudden I was 26 and I felt I’d taken a big step back.” She discovered her footing by once again picking up her guitar and writing songs in her bedroom. Richardson decided to consciously commit to “saying yes to any and every opportunity,” and she quickly found herself anchored through a community of fellow musicians.

“The music scene in Dublin is very small, everyone knows everyone and it’s not competitive at all – everyone is very encouraging of each other. Loads of my friends here are other musicians and I think that’s really nice,” she says. Grounded and content in her hometown but grateful for what New York gave her, it looks like she’s staying in Ireland for the long haul. She adds, smiling: “The musical community and home that I was looking for was in Dublin all along, I just didn’t know that.”

Smiling Like an Idiot is out 23 September via Faction Records

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Sorcha Richardson

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Past Events

Here are the most recent UK tour dates we had listed for Sorcha Richardson. Were you there?

• Mon 4 Mar London, Barbican Centre Imagining Ireland Sorcha Richardson, Ye Vagabonds, Susan O'Neill, Rachel Lavelle
• Fri 12 May Brighton, The Folklore Rooms Folklore ALT ALT Escape YABBA, The Leaning, RVG, King Isis, Nierra Creek…
• Wed 10 May ➙ Sat 13 May Various Venues Brighton The Great Escape Festival 2023 Áine Deane, AlienBlaze, Artemas, Bambie Thug, Deyaz…
• Sat 6 May Various Venues Glasgow The Road to the Great Escape Been Stellar, Ber, Calum Bowie, Cathy Jain, Chalk…
• Sat 6 May Glasgow, The Garage The Joy Hotel Sorcha Richardson, Terra Kin

November 2022

• Fri 18 Nov Brighton, The Folklore Rooms Sorcha Richardson
• Thu 17 Nov London, Lafayette Sorcha Richardson
• Tue 15 Nov Manchester, YES Sorcha Richardson
• Mon 14 Nov Edinburgh, Sneaky Pete's Sorcha Richardson

October 2022

• Thu 20 Oct Dublin, 3Olympia Theatre Sorcha Richardson
• Wed 19 Oct Belfast, The Limelight Sorcha Richardson

February 2020

• Thu 27 Feb Southampton, Heartbreakers Sorcha Richardson
• Wed 26 Feb Cardiff, Clwb Ifor Bach Sorcha Richardson, Big Thing, Little Red
• Tue 25 Feb Bristol, The Louisiana Sorcha Richardson
• Mon 24 Feb London, The Lexington Sorcha Richardson
• Fri 21 Feb Manchester, SOUP Sorcha Richardson
• Thu 20 Feb Bodega Nottingham Sorcha Richardson
• Wed 19 Feb Glasgow, SWG3 Sorcha Richardson
• Tue 18 Feb Leeds, Oporto Bar Sorcha Richardson, Sunflower Thieves, Eades

November 2019

• Sat 2 Nov Mirrors 2019 Phoebe Bridgers, American Football, Cass McCombs, Turnover, Sheer Mag…

October 2019

• Thu 31 Oct London, Electric Brixton Honeyblood, Sorcha Richardson
• Mon 28 Oct Nottingham, The Rescue Rooms Honeyblood, Sorcha Richardson
• Fri 25 Oct Birmingham, The Castle & Falcon Honeyblood, Sorcha Richardson
• Thu 24 Oct Glasgow, Queen Margaret Union Honeyblood, Sorcha Richardson
• Tue 23 Jul London, Servant Jazz Quarters Sorcha Richardson

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'Ready to make that USA Team': Sha'Carri Richardson cruises to 100m win at Pre Classic

EUGENE, Oregon — Sha'Carri Richardson continued her revenge tour Saturday at the Prefontaine Classic at Hayward Field, winning the women’s 100-meter dash in 10.83 seconds. And according to the sprinting dynamo, she’s just getting started. 

It was clear about 30 meters in that Richardson was going to cruise to a victory, topping Saint Lucia’s Julien Alfred (second at 10.93 seconds) and Great Britain’s Dina Asher-Smith (third at 10.98). Jamaican star Elaine Thompson-Herah, the defending gold medalist in both the 100 and 200, finished last at 11.30.

“I’m excited, I’m eager going into the rest of this season, I’m growing, developing and just getting ready to make that USA Team,” Richardson exclusively told USA TODAY Sports afterward, joy radiating off her petite frame. 

The Pre is unique in that there are no preliminary heats, only finals. It’s considered a fan-friendly and made-for-TV event. Saturday was the first time this outdoor season that Richardson has run the 100. (She did not run in the LA Grand Prix on May 18, and finished in second and third in two 200 April races.) She admitted afterward she was nervous getting into the blocks — “I’m human,” she said — but said her coach encouraged her to use those nerves to power her down the track. Clearly, the advice worked. 

Every time Richardson crouches down to get into blocks, she blows a kiss to the sky, an acknowledgement of her faith in God and how He’s blessed her. It’s a necessary reminder, she said, of “the belief that I have to have in myself first and the blessing I know I’ve been given to give back in the world, to be that vessel, to shine, to allow his glory and His love to reign through me.” 

It’s been a journey to get back to this point, she acknowledged. 

Just three years ago, Richardson went through a spectacular rise and fall prior to the 2021 Olympics. After winning the 100 meters at the trials , she never made it to Tokyo after testing positive for marijuana , a banned substance. She later said she used marijuana as a way to cope with the shocking news of her biological mother’s passing (Richardson was raised by her grandmother). 

She was ridiculed by fans and media alike after the snafu, with much of the criticism racially tinged. Briefly, she disappeared from public view. When she came back, she bombed at the 2022 USATF championships, failing to make the finals in both the 100 and 200. One year later, when she blazed to a 10.82-second win at the U.S. Track and Field Championships — also held in Eugene — she told NBC as she came off the track, “I’m ready mentally, physically and emotionally. And I’m here to stay. I’m not back, I’m better .” She followed that performance up by winning the 100 at the World Championships in Budapest, also taking home gold in the women’s 4x100 relay and bronze in the 200.

Months later, when finished fourth in the 100 at 2023 Pre, she gushed afterward about how she had “ fallen back in love with my sport .” She was bubbly and chatty, and obviously in a better place mentally.  

But she’s eyeing more. 

“We’ve been preparing for the (Olympic) trials since November,” she said Saturday, laughing. “(We’re) continuing to keep that focus, keep that love and keep that positive mindset, knowing that my growth is going (to continue) into the trials and even more going into the Games.”

The last year in particular, Richardson said, has been one of “exploring myself, learning myself, falling deeper in love with myself (and) everything I put myself into.” The key, she’s learned, is to give herself love first so she can keep “falling in love with the process” throughout her career. 

That process has three steps between now and June 21, when she’s scheduled to run in her first trials prelim: Grinding, focusing and growing. 

Keep an eye on those three, and redemption is surely waiting for Richardson.

Email Lindsay Schnell at [email protected] and follow her on social media  @Lindsay_Schnell