Phil Shepard got a solid training in classical flute as a schoolboy in Arlington, VA. He studied for several years with Mark Thomas, first chair flute in the National Symphony Orchestra, and performed as a featured soloist in his high school orchestra. A brief appearance as a last minute substitute for the American University Orchestra, provided Phil with his first real opportunity to make a fool of himself (hence the term "Shepard's Folly.")

While at the College of William and Mary in Williamsburg, Phil performed occasionally as a featured soloist, with the concert band and orchestra, and for special concerts at Bruton Parish Church in Colonial Williamsburg. He also performed for several years as a founding member of the William and Mary Chamber Players. By far his most moving musical experiences at this time were Handel’s Judas Macabeas and Bach’s B Minor Mass. But it was the chamber work that most honed his ensemble skills and paved the way for his later transformation into a folk musician.

In 1966 Phil put the concert flute aside to concentrate on doctoral work in Philosophy at Washington University (St. Louis). Then came a thirty-year career at Michigan State University, as "Mein Herr Doktor Professor Shepard" to those students too timid to look him in the eye and call him "Phil."

In 1980 he turned back to the flute as an avocation, but with a new focus. First came explorations of improvisation in popular music, then a budding relationship with the penny whistle. 

After a Liz Carroll workshop at the Wheatland Music Festival, Phil nurtured a growing fascination with Irish and other Celtic traditions. At almost the same time Glen Shultz introduced him to his newly minted “Thin Weasel” whistles, which for the first time allowed his whistle work to reach for the standards of intonation he had learned with the concert flute.

In the 90’s Phil's interest in the Celtic tradition became a dedication. His association with the Willey clan of Grand Rapids, provided a solid stylistic model. Five years of performance with “Ceoltori Gan Ainn” honed a growing Celtic repertoire.

In the winter of 1997, he formed a new trio with John Sands and Ray Kamalay. The Spring of 1999 found Phil in Ireland where he acquired from Eugene Lamb the keyless flute that now colors so much of the sound of Shepard’s Folly and brings his odyssey home at last.

Recordings
  Shepard’s Folly Demo Tape 1999
  Shepard’s Folly CD, 2001

Performances
  Ten Pound Fiddle Coffee House - invited "resident performer"                   1991-1992 and Winter 2000
  East Lansing “Fountain Square” Concert – 1992
  Fir-eunn Og Gaelic – Fall Ceilidh, Grand Rapids, 1991, 1992
  October Fest, Grand Rapids, 1992
  Meijer Grand Food Fair, Grand Rapids, 1995
  The Evergreen Grill, weekly, Winter, Spring 1997
  East Lansing Art Fair, 1998
  Farmfest, 1998 

With "Shepard's Folly"

  British Isles Restaurant, alternate weekends, Winter, Spring 1998
  Michigan State University, University Club, St. Paddy’s Day
      1998 – 2002
  Grand River Folk Arts Society, 1999
  Unitarian-Universalist Church of East Lansing, 1999
  White Lake, MI (wedding) 1999
  Jambalaya’s, Bath, MI (wedding) 2000
  Cayenne Grill, Mason, MI, Winter, Spring 2001
  Summer in the City, St. John’s, MI bandshell concert, 2001
  Lansing Chapter of Credit Unions, Annual Banquet, University Club         2001
  Shepard’s Folly CD Release Concert, East Lansing, October 27, 2001
  Schuler Books & Music, Meridian Mall, Okemos, store dedication,           November 8, 2001

Dances
  Looking Glass Music and Arts Assoc. (various)
  Friday Night Live, Traverse City Street Dance, 2000
  Michigan Dance Heritage, Dance Weekend, Spring 1998

Whistle Workshops
  Looking Glass Music and Arts Assoc., Annual Fall Festival (several)
  Michigan Dance Heritage - Dance Weekend, Fall 1989