在为主要海外华文报纸《侨报》撰写的一篇长篇特写中，记者王晓达深入讲述了吴小妹的故事。文章将她置于上世纪九十年代移居海外的华人艺术家浪潮之中——他们中的许多人为重新开始而搁下了自己的艺术——而她却是守住了内心那片「艺术绿洲」的人。文章称她为北美的「京胡第一才女」，并重述了那些为人熟知的里程碑：十二岁时从上万名考生中脱颖而出考入中国戏曲学院，师从曹宝荣与何顺信，六年科班训练，以及她在北京京剧院的岁月。文章还把她与同仁一道、将京胡从幕后伴奏乐器变为配以电声乐队的独奏主角这一创举，视为她荣获文化部「青年创新成就奖」的缘由——该奖项相关作品如今被中国国家博物馆永久收藏。
特写接着讲述了她移居北美、落脚温哥华的经历：她在当地京剧爱好者群体中成为备受敬重的导师，文章也引述了她初到异乡时的忐忑，以及坚持在海外弘扬中国传统艺术的决心。文章讲述了她与丈夫 He Bing 因京胡结缘的故事——他起初登门求学，师生情谊最终发展为婚姻——并收录了他的一段回忆：一向以为京胡是「男人的乐器」的他，看到一位女性能把京胡演奏得如此有气场，深受触动。文章还回顾了她 2011 年在香港的「吴小妹时尚京胡与戏曲音乐会」，获香港各界人士好评；一场由华盛顿州香港商会在西雅图喜来登酒店举办、近千人出席的欢迎晚会，中国驻旧金山总领事高占生在现场盛赞她的演出；以及她 2011 年 7 月在西雅图与电声小提琴家 Geoffrey Castle 合作的首场摇滚音乐会，全场观众起立喝彩，Castle 更盛赞她的创新精神，并表示希望与她持续合作。文章指出，到那时，她的艺术不仅在美国主流音乐圈获得认可，也已引起中国内地主要媒体的关注。
In a full profile for *China Press* (侨报), a major overseas Chinese-language newspaper, journalist Wang Xiaoda told Lucy Wu’s story in depth. The article places her among the wave of Chinese artists who emigrated in the 1990s — many of whom set their art aside to start over — and casts her as one who instead protected what it calls her inner “oasis of art.” It calls her North America’s “First Talented Woman of Jinghu,” and retraces the familiar milestones: her selection at age twelve from more than 10,000 applicants into the National Academy of Chinese Theatre Arts, her studies under Cao Baorong and He Shunxin, six years of training, and her years with the Beijing Chinese Opera Troupe. It credits her and her colleagues with turning the Jinghu from a background accompaniment instrument into a solo spotlight instrument paired with an electric band — the innovation behind the Ministry of Culture’s Youth Innovation Achievement Award, now permanently preserved in the China National Museum of History.
The piece follows her move to North America and her settling in Vancouver, where she became a respected mentor within the local Chinese-opera community, and it quotes her on the early uncertainty of a new country and her resolve to keep promoting Chinese traditional art abroad. It tells how she met her husband, He Bing, through a Jinghu performance — he first approached her to study under her, and their teacher-and-student relationship grew into marriage — and includes his recollection of how struck he was to see a woman play the Jinghu with such presence, having always associated the instrument with male performers. The article recounts her 2011 Hong Kong program, “Lucy Wu’s Fashion Jinghu and Opera Concert,” praised by Hong Kong public figures; a welcome gala for nearly 1,000 guests at Seattle’s Sheraton Hotel hosted by the Washington State Hong Kong Chamber of Commerce, where the Chinese Consul General in San Francisco, Gao Zhansheng, praised her performance in person; and her July 2011 debut rock concert in Seattle with electric violinist Geoffrey Castle, which drew an enthusiastic standing response and a quote from Castle praising her innovative spirit and his hope to keep collaborating. By that point, the article notes, her work had drawn attention from both mainstream American music circles and major media organizations in mainland China.