Released December 25, 2018. Since 2003, Stolie has used looping and harmony pedals in her live performances to compile full arrangements on the fly. This performance on Nov 10, 2018 was an effort to capture some of her original pieces in a live setting as well as a handful of newer compositions. Everything you'll hear in these recordings was recorded and layered live before an audience. There are no previously recorded backing tracks. It's all in the feet!

Released January 20, 2017, #FollowMe was Stolie's first CD for "grown-ups" after 8 years of performing primarily for children (and releasing 3 kids albums). Some songs were written during her first winter season in Puerto Vallarta and the collection creates the soundtrack to Stolie's journey through life and love during these hibernating years.

Chicago's renaissance woman tackles multiple genres on her third full-length CD of original music. On this collection of pop, rock, country, Latin, rap and jazz, Stolie performs on guitar, piano, bass, harmonica, tambourine, and vocals and recorded the album in her home studio.

Released February 7, 2004.For those of you who have witnessed Stolie's live acoustic set, be prepared for a sonic treat. This new collection lies somewhere between the soulful sounds of Sade and the balls-out rock of The White Stripes. There's an array of sweet and smooth hip-hop beats, head-pounding anthems, and a couple of the acoustic-based love tunes you've come to know and love from Stolie.

Here's what the paid writers are saying:

InMusicWeTrust (Online), February 2005
Growing by leaps and bounds since her previous, folk-based, self-titled album, Stolie has entered the realm of the beguiling. Satire-Laden Melodies opens with its title, which is all slinky, sexy and rides atop a trippy beat loop. Kind of like Poe on opium - heady stuff. Next, Stolie slips into something more summery with "Table," a glistening, drifting pop gem powered by some kooky electronics and Stolie's airy, innocent coos. After an epic-leaning, distorted guitar intro, "Up to the Highlands" reveals itself to be an intoxicating fusion of hip-hop street cool and buzzy rave-hall trance. While a couple of her previous folkie-yolkie tunes are thrown into the mix, possibly to remind listeners where her base is, it's the electronically fortified fare that is the most satisfying and filling. Maybe Satire-Laden Melodies is what modern folk music sounds like when it decides to get dressed up and feel sexy, or perhaps it is simply the sound of Stolie finding her sound. Pour me another shot, please. - Scott D. Lewis

Independent (Raleigh, NC), November 4, 2004
Chicago's mid-20s chanteuse Stolie boasts a record collection as wide and inclusive as her stylistic comfort zones. She plays on a white-girl soul with an electronics-on-ice vibe one moment, while sliding naturally into tight, Indigo-shaded harmonies the next. The latter proclivity finds her at her best, painting city-framed vignettes of love inside of a kiss on "Skin," just as well as, say, Laura Veirs or Cantrell. - Grayson Currin

Bitch Magazine, Summer 2004
True to its title, Stolie's latest is quick with sardonic flip of the tongue, backed by a synthetic sound punctuated by moments of acoustic charm. She injects a charismatic personal energy in to the type of music that can, in the wrong hands, bog down in a heavy-handed mire of manufactured sound. With this much talent in evidence, here's hoping that Stolie's future projects will be even better than this one. - Julie Craig

Venus Zine, Summer 2004
Satire-Laden Melodies uses gorgeous, visual songwriting and echoey, evocative vocals that fall somewhere between PJ Harvey and Bella Donna-era Stevie Nicks. - Erica Gallagher

Illinois Entertainer, July 2004
With sultry, yet soulful vocals and a repertoire ranging from Bjork-esque dance numbers like "Up to the Highlands" to more traditionally acoustic and moving ballads like "Skin" ... she is definitely a woman on the verge. - Dean Ramos

Nashville Rage, June 3, 2004
A collection of electronically tinged pop songs that are both smart and sexy, Stolie's work falls somewhere between Zero 7 and David Gray in that it's both forward-looking and accessible ... Songs like 'Up to the Highlands' master a kind of Velvet Underground heroin groove while [Stolie] croons magnetic, swooningly sexy melodies over the top. - Clay Steakley