Nadia Reid & Julie Byrne @ Whelans - 30th August 2017

Twenty-four hours after the appearance of Courtney Marie Andrews at the same venue two more young female artists turning industry heads both grace the stage at Whelans. Equally encouraging is the impressive attendance for both evening’s shows, a welcomed reassurance that emerging acts are not going unnoticed.

Tonight’s double act features Nadia Reid and Julie Byrne, both having released albums earlier this year to positive reviews and both signed to the Basin Rock record label. However, the comparability ends there.  Label mates they may be but their music, styles and personalities are from different ends of the scale. In classroom vernacular Byrne might be seated in the front row, attentive and impeccably behaved with visions of an academic career on the horizon. In contrast Reid would most likely be at the back, restless, disruptive and questioning, possibly firing paper bombs at the front row and counting down the days until she could break out and pursue a more challenging and nomadic lifestyle.

Slipping quietly on to the stage Byrnes demeanour in keeping with her song writing is laid back, wistful, somewhat anxious and unhurried, almost as if she would prefer not to be noticed. Seated throughout her set she expresses her delight at playing at ‘the legendary’ venue and adds that her father is Irish before starting her set with Sleepwalker and Follow My Voice, both from her latest album Not Even Happiness. Her vocal is low pitched, disciplined and relaxed, complimenting her delicate guitar playing. Welcoming her close friend Taryn Miller on stage to accompany her on Korg Mini Moog she continues with Melting Grid from the same album before visiting her debut album with the track Prism Song. Towards the end of her set she asks for the house lights to be dimmed and appears more comfortable on the darkened stage introducing Natural Blue. Her final song I Live Now As A Singer is inspired by travel, reflection and self-determination. Byrne possesses the lyrical ability to create dreamy trancelike landscapes even if her material suffers from time to time from possibly being one dimensional.

Nadia Reid’s studio output to date has consisted of her debut album Listen To Formation, Look For Signs, which dealt head on with personal heartbreak and love lost, and her current release Preservation which found Reid growing from her experiences and coming out the other end reconciled, confident and fighting. If Julie Byrne’s set, body language and material could be described as monochrome, Reid’s was in technicolour. With both microphone stands adorned by bunches of pink roses she takes the stage confidently, colourfully attired in a black blouse and matching coloured harem pants, her guitarist and occasional backing vocalist Sam Taylor equally looking the part in a two-piece tailored suit and plastic boot lace neck tie. Picking up her Gretsch guitar she immediately launches into Preservation and The Way It Goes, two obvious crowd pleasers notwithstanding the fact that her vocal is somewhat drowned out by the powerful sound of her guitar. Explaining that she is now performing show twelve of a thirty four date tour – and convinced that it’s actually Thursday rather than Wednesday – she switches to acoustic guitar for Runwayand Right On Time, both delivered beautifully, bringing her vocal out front where it deserves to be.

Reach My Destination she explains was inspired by reaching the rock bottom status of moving back home to her mother’s house in Port Chambers after a relationship breakdown. The song is underpinned by stunning guitar playing by Taylor, matched equally by his playing on Hanson Street, Part 2.

An unfortunate juncture during the performance found Reid, visibly disturbed, having to pause mid song and call out a couple of people that insisted on talking during her performance – why do ‘talkers’ always position themselves upfront – and while succeeding in shutting them up she did appear noticeably unsettled for quite a while before regaining composure. Ruby, Track Of The Time, Hanson Street Part 2 also featured together with an audience request for Richard before closing with The Arrow and The Aim. Reid made a point of thanking her close friend and producer Ben Edwards for the inspiration and encouragement in the recording of Preservation. Interestingly she did not reappear for an encore, possibly still unnerved by the mid set distraction.

Ironically, printed on the flip side of Reid’s hand-written set list at the front of the stage was the following ‘I Want Freedom For The Full Expression Of My Personality – Mahatma Gandhi’. No truer words could sum up the exceptionally talented young New Zealand artist.

Spare a thought for Jim Ghedi, another Basin Rock recruit, who opened the show. The young Sheffield folk singer’s band members failed to make the gig due to transport problems leaving him to borrow equipment and perform solo. Given the trauma he performed remarkably well.

Review and photography by Declan Culliton


Courtney Marie Andrews @ Whelans - 29th August 2017

This was not Courtney Marie Andrews first time to play Whelans. She explained that she had come over on the ferry as a teenager having been advised to play the venue by an Irishman of her acquaintance and ended up performing to a couple of people in the public bar before heading right back to the UK on the ferry to do some further busking. This time around there was substantially more people there to see her perform and on the basis of her stunning show a larger venue may be required for her next visit. She was accompanied by her four piece band and delivered a set that was considerably more electric and rocking’ than her studio albums and videos might suggest.

She opened with How Quickly Your Heart Mends from her most recent album Honest Life, already a contender for album of the year in many quarters.  Andrews pointed out that straight after this tour, which ends at The AMA’s Festival in Nashville,  she and the band would be going into the studio to record their next album and that these shows would act as preproduction.  In that light there were a number of new songs in the set, all well received by her fans who would likely be hearing them for the first time. Table For OnePut The Fire Out, 15 Highway Lines and the gorgeous Rookie Dreaming were included from Honest Life together with a selection of  songs from a previous album (On My Page) that had been rereleased by her UK label Loose Music to coincide with the tour. One of these songs, highlighting her skill as a songwriter, is titled Paintings From Michael and is performed solo by her at the piano having explained the story behind the song; that of an incarcerated relation who painted while in prison. Throughout the show her superb vocal ability was readily apparent handling both solo acoustic folk songs and full throated rock work-outs. She also displayed slick guitar playing skills with some delicate finger pickin’ on Woman Of Many Colours also from the rereleased album.

There was some banter between Andrews and the audience, a couple of whom who were effusive in their praise. Another moment was when she strapped on her electric guitar for the first time and someone quipped “Judas” to much amusement all round. At the end there was a tongue in cheek request for Smells Like Teen Spirit which the band briefly, but effectively, played the intro before finishing the set with the crowd pleaser Irene. The encores included a solo version of a new song Rough Around The Edges, which might be the title of the next album and an amped up version of Bob Dylan’s Tonight I’ll Be Staying Here With You, highlighting the versatility of the band.

There was little to doubt the skill of those on the stage. Andrews quipped that they were known as Courtney Marie Band when they played together and the fact that these were her long time regular players (who were featured on her recordings) gave them an undoubted collective ability to serve the songs in the way best suited to that moment of performance. It was also apparent that although, still only in her mid-twenties, Andrews has so much  to offer both as a writer and performer and with a number of album already under her belt has the potential to become a much more mainstream artist. The style and delivery of her newer material also suggested that her next album may be a departure to a fuller rockier sound compared to the more intimate style of the exquisite Honest Life.

Sound designer, audio engineer and musician Scott Hirsch filled the support slot splendidly with a thirty minute set which included material from his debut 2016 album Blue Rider Songs. A former bass player alongside MC Taylor in Hiss Golden Messenger, his style varied from laid back country soul to a fuller bluesy rock sound and his accompanying three piece band included American keyboard and guitar wizard Sean Coleman, currently residing in Dublin. Darkness, Blue Rider and his closing track Isabella were particularly impressive. All in all a great opener from an act more than worthy to be headlining himself. 

Review by Stephen Rapid and Declan Culliton   Photograph (at top) by Kaethe Burt O'Dea. (Below) Scott Hirsch and Sean Coleman by Declan Culliton


Grant Lee Phillips @ Whelans - 23rd August 2017

Edinburgh native Dean Owens, who supported Grant Lee Phillips, is a highly regarded singer songwriter whose album Into The Sea received glowing reviews when released in 2015 . A close friend of Phillips, his thirty minute set was the perfect opener for what was to follow. Not unfamiliar to all things Irish having toured here previously with The Mavericks and more recently with Sharon Shannon in Australia, he joked  early in his set of been taken by surprise by the pin drop silence of the audience at Whelan’s, in total contrast to the rowdy Irish entourage that followed Shannon around Australia. To his credit the quality of his material and his confident and entertaining stage banter engaged the audience throughout, even managing to get them to sing the chorus on his final song. Highlights of his slot were the opening song Valentine’s Day In New York, written in a hotel room while spending some time in New York without his wife, the Ryan Adams sounding The Only One and Cotton Snow inspired by a visit to the Carter House in Tennessee where The Battle of Franklyn took place during the American Civil War and where ten thousand soldiers died during the five hour battle. 

Grant Lee Phillips most recent album The Narrows, released some twelve months ago and his first recording since relocating to Nashville from California, matched the excellence of his early career recordings as Grant Lee Buffalo and much of this evenings show featured material from both ends of career to date. Interestingly, The Narrows and Fuzzy – released nearly twenty five years ago – both feature quite similar looping and atmospheric guitar playing together with his quite unique vocal range. It’s a great compliment to Phillips that this evenings performance, even though delivered solo, managed to recreate the power, quality and excitement of the material from both those albums in particular.

Kicking off with It Ain’t The Same Old Cold War Harry and One Morning, both from his 2009 album Little Moon, he pledges ‘to start the evening off nice and easy and end it up in a coma’ and over the following ninety certainly delivers a storming set ending the evening jacketless, bathed in sweat and elated.

For a creator of bittersweet and often doleful lyrics, Phillips himself is quite the contradiction on stage, upbeat, humorous and possessing the ability to effortlessly engage and enthral. Introducing One Morning he refers to his rural country childhood, open fields, cattle and roosters before joking "I heard you can buy washed and fresh roosters in the stores here and was scratching my head until someone told me we were talking about potatoes!"

Smoke and Sparks, Holy Irons and Taking On Weight in Hot Springs all from The Narrows follow, stripped back versions but all performed wonderfully. A similar pattern of playing a collection of songs from a particular album follows with two selections from Virginia Creeper, crowd favourite Mona Lisa and Josephine Of The Swamps, and three from Mighty Joe Moon, Honey Don’t Think, Happiness and the title track.

Explaining how his relationship and friendship with support artist Dean Owens started in California and continued in Nashville he invites Owens back on stage to join him on two covers, Gram Parsons Hickory Wind and Ramblin’ Man by Hank Williams, which features a striking guitar solo by Phillips.

The highlights of the evening however are probably his selections from the album Fuzzy. Phillip’s vocal delivery on Jupiter and Teardrop is stunning to say the least - soaring, dipping and echoing, aided by the excellent acoustics and engineered sound in the room. Audience requests are satisfied by two more from the same album, Stars ‘N’ Stripes’ and the title track Fuzzy, described by Phillips as his melodic nightmare, both bringing the house down.

The encore and closing track sees Owens back on stage taking the difficult chorus on a rousing Mockingbirds, with Phillips joking ‘you can sing the high notes, the ones I won’t reach having been travelling from London from 6am this morning’. It’s a fitting  close what has been a wonderful evening by an artist who remains every bit as passionate, entertaining and committed nearly three decades in to his career. 

Review and photography by Declan Culliton


Jim Lauderdale/Beth Nielsen Chapman @ NCH, Dublin - Sun 30th July 2017


Quite aside from his standing as a prolific singer songwriter, Jim Lauderdale’s reputation as best dressed artist in Nashville is beyond dispute. He most certainly cuts a dash taking the stage this evening togged out in a multi coloured Liberty print Dandy & Rose shirt and light green embroidered Manual trousers. The stage in a concert hall can be a lonely and unforgiving platform for an artist to perform solo but Lauderdale breezes through his set this evening accompanied only by his acoustic guitar, customary confidence and good humour.

Since his debut release in 1991 Lauderdale has released no fewer than twenty-eight albums, collaborating and working with the cream of country, bluegrass, roots, soul and rock including Rodney Crowell, Ralph Stanley, Elvis Costello, Robert Hunter, Nick Lowe, Emmylou Harris, Lucinda Williams and Buddy Miller.

Tonight’s setlist includes a selection of many of those collaborations and a selection of songs from his latest album London Southern, which was actually written five years ago but only finally surfaced earlier this year. The album was a labour of love, (excuse the Nick Lowe pun), explains Lauderdale later in the show, having been recorded with Nick Lowe’s band and production team.

Opening this evening with Three Way Conversation from his 1994 recording Pretty Close To The Truth and continuing with Midnight Will Become Day and The Hummingbirds from the album of the same name it’s clear that the show will be a trawl through his imposing back catalogue rather than concentrating on his latest album. This Changes Everything, released in 2016, found Lauderdale revisiting his love of the  Texas ‘Red Dirt’ Country sound  and the title track comes next followed by Drive from the same album, a stunning  co-write with the young Texan troubadour Hayes Caryll.

Lauderdale refers to his opportunity to work with bluegrass legend Ralph Stanley and The Clinch Mountain Boys as one of the musical highlights of his career and proceeds to play Lost In the Lonesome Pines and Feel Like Signing Today, both being title tracks of the two albums recorded with Stanley. It’s difficult to perform bluegrass songs solo acoustic but he manages to do both songs more than justice before an impressive a Capella delivery of the gospel song Like Him.

He seeks out audience requests, "songs that I’ve written please, no Wonderwall or even Cosi Fan Tutte given our surroundings in this beautiful Hall!" The King of Broken Hearts, a song inspired by two of his heroes George Jones and Gram Parsons, is requested and duly delivered.

At this stage Lauderdale explains that’s its twenty-five years since he first played Dublin, "my favourite city to tour", recalling that the gig was in Bad Bobs and he was accompanied by his band Buddy Miller, Donald Lindley, Dusty Wakeman and Gurf Morlix. The response to that show, and in particular the praise by journalist Lisa Hand and musicophile Steve Averill, was a hugely encouraging and a significant confidence booster for his career going forward, adds Lauderdale.

Two songs from London Southern are included, both dedicated to the producers on the album Neil Brockbank who passed away earlier this year and Robert Trehern who died in 2015. The beautiful ballad Sweet Time is first up and followed I Love You More, possibly one of the strongest songs he has written to date. Delivered with immaculate discipline it’s one of the highlights of a most enjoyable set by an artist that always delivers whether in a solo show or accompanied by a band.

Finishing his slot with Headed ForThe Hills, co-written with Grateful Dead lyricist Robert Hunter, he insists the audience help him out by singing the chorus concluding what has been a typical engaging, entertaining and delightful Jim Lauderdale show.

Review by Declan Culliton


A singer-songwriter and performing artist of some renown with a career that has spanned the decades; indeed, it is 27 years since her debut release in 1990. Of course, she was already active before this release and has written for a who’s who of major artists, in addition to releasing her own work. The names of Willie Nelson, Waylon Jennings, Crystal Gayle, Martina McBride, Mary Chapin Carpenter, Trisha Yearwood and Faith Hill are just a sample of the talent she has written for and her list of song-writing collaborations runs just as deep and too numerous to mention.

Filling in for the original artist Rodney Crowell who was unable to travel, Beth takes the stage with her trusted accompanist Ruth Trimble who plays bass and keys in addition to harmony vocals. In a set that ran for 13 songs Beth puts in a commanding performance with favourites from her song catalogue along with four new songs from a future release.

Ruth Trimble is invited to play one of her songs and sits at the grand piano to perform Goodbye, a beautiful track from her debut release. She shows all the reasons why Beth chose her as a touring companion with a fine performance that showcases Ruth’s beautiful voice and melodic touch on the keys.

Beth exudes a strong confidence on stage and chats easily between songs with stories about the writing process, relationships, touring and the current state of things. While not specifically talking about the situation in American politics, she does make reference to a lack of empathy and grace before singing the Paul Simon classic American Tune; a most appropriate and classy statement to highlight where her feelings lie. It is her ability to sing from the heart that separates Beth out from many of her contemporaries and her powerful delivery is utterly convincing on both guitar and piano. 

This Kiss, Sand And Water, How We Love and I Find Your Love are all received with great enthusiasm from the audience and Beth includes a song from her recent collaboration with Olivia Newton John and Amy Sky, Stone In My Pocket. She also sings a song written for Willie Nelson back in 1989, There’s Nothing I Can Do About It Now, adding great colour in the last verse by mimicking both Willie and Bob Dylan’s vocal delivery – both carried out with great aplomb.

Her final song of the evening is taken from an astronomy project she was involved with and is the gentle message that light exists everywhere across the Universe. The song is called There Is No Darkness and Beth leaves the stage to a standing ovation which is richly deserved. Beth Nielson Chapman stands at the pinnacle of her art as an accomplished artist of great insight and maturity. Her gift of communication is something to hold close and treasure. 

Review by Paul McGee   Photography by Ronnie Norton


Buddy Mondlock @ The Hot Spot, Greystones - Sat 29th July 2017.

This is a very fine venue, located at the marina in the beautiful setting of Greystones harbour. It is the perfect place to host live music with an intimate setting and the only drawback is that it must rely mainly on local residents for support, which is crucial to its survival.

The journey from the centre of Dublin is a long one and I am sure that many people have concerns over the return leg after the show has ended. However, it is well worth the trip as I discovered on Saturday last when Buddy Mondlock and Mike Lindauer performed a set that had the small crowd waxing lyrical about the talent on show.

At the end of an Irish tour, both musicians play with an easy style that comes from many years of playing together and Mike makes reference to the fact that they first met in the principal’s office at school when they were ten years old.

Playing a selection of songs that includes many fan favourites like The Kid, The Ugly One, Coming Down In The Rain, Mud, New Jersey Sunset, The Cats At The Colosseum and the regular encore No Choice, Buddy proves himself the consummate songwriter with his keen observations on life, love and everything in between. He has a gentle approach to both his guitar style and his vocal phrasing. Indeed, it can be quite hypnotic in a venue like the Hot Spot where the atmosphere is one of quiet listening and attentiveness. Mike plays beautifully on his custom-made bass guitar and compliments the soft vocal delivery with understated harmony vocals and subtle melody runs.

A few new songs are tried and well received, Come Back First, The Witness and Filament will no doubt appear on an upcoming release. Buddy co-writes a lot of songs and tells stories of his time spent in younger days writing with Garth Brooks. As their respective careers took different paths, Buddy waited for one of their co-writes to appear and this finally happened on The Chase (1992) when Every Now And Then was included. The royalties kept Buddy in comfort for some little time and also gave him the joyous experience of purchasing a brand-new car for cash … !

A word for support artist Martyn Travis who entertained with his quick wit and easy conversation. A natural storyteller, Martin comes from a fishing background and has known Buddy & Mike for many years, having originally met in New York. He is a fine guitarist with a clear voice and sings of Salt On My Skin, The Harbour Bar, A Father And A Son, A Place In My Heart and As This Night Becomes Day in a short set that impresses and makes a positive statement of intent for future outings.

Review and photo by Paul McGee

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