Ireland has always had many riches awaiting discovery when it comes to musical talent. Currently, there are many artists producing work of the highest standard and seeking ways to get their talents recognised in the wider marketplace. One such artist is Dave Clancy who has been involved in the music industry for many years now, gaining valuable experience and contacts as a session musician as his career developed.
His debut album, appropriately titled, The Path, was released late last year and has been gathering much interest over recent months. It is a superb achievement, full of real quality throughout and one of the strongest debut albums I have heard from an Irish singer/songwriter in many years. Lonesome Highway caught up with Dave recently to chat and ask him about his career to date.
Can you tell us a little about your formative years, growing up in Corofin, County Galway?
My Dad came to Tuam from Sligo in the early 70s to join a showband where he met my mother. We settled in Corofin shortly after I was born. Music was always in the house. My dad was a self-taught guitar player. He then moved to the organ as his band needed someone to play it so he put his hand up. He continued to play semi-professionally right through to the 90’s. At the time Corofin had a very strong traditional music background. I dabbled in it a bit but I was a bit lazy on the practice side of things. I was sent to learn piano from an early age too. I guess all these great opportunities gave me a good base for my own musical discovery, which I think really took off when I went to secondary school in Tuam.
Were you listening to music from a very young age and who were your early influences?
I remember having a compilation CD of blues music when I was about 11 and being enthralled by the emotion in the playing of B.B King and picking up a guitar and trying to copy the licks. As kids we used to be brought to a jazz session on Sunday mornings in Galway that my father used to play at. It was mostly Dixieland Jazz with great musicians and I used to love listening to it. In my teenage years I loved Pearl Jam, Nirvana and all those classic 90s rock bands. When I was about 15, I got turned on to the likes of Bob Dylan and Neil Young and I became fascinated by the mystery of the music and the words and how timeless it felt. Also, I was inspired by seeing local bands like The Saw Doctors become big touring acts and singing about local characters and issues.
At what stage did you start to take music seriously as a possible career?
In all honesty not until my 30’s. Right through most of my 20s I would play every weekend with my friends in bars, while working in a steady IT job. But I really felt the music was drawing me in all the time, and I would have to take time off work here and there to pursue my musical interests. In 2014 I quit my day job and decided to dedicate myself to music full time. It can be a struggle sometimes but I’m lucky to be surrounded by a great crew. I also teach music as well which gives me a great balance.
Was there a healthy music environment surrounding you at this time or did you have to travel to find your ‘tribe?’
I moved out to Headford from Galway city around 2011. There is a pub and music venue called Campbell’s Tavern there, which is a mecca for music. Over the years it has hosted great acts. It has hosted the likes of Greg Brown, Iris Dement, John Prine, Tim O’Brien, The Wailers and loads of other fantastic Irish and International acts over the years. But it was the local community that drew me in and the singing, playing and song writing of the musicians that played in the local sessions. Wednesday night was traditional tunes and Thursday was folk and songs. I heard so much music there that inspired me.
Has the role of session musician brought you a discipline when it comes to working in different genres and delivering what various artists and producers want from you as a player?
I just love playing. I try to play every day, and I enjoy creating the atmosphere for a song as much as singing. When backing another singer on whatever instrument I’m playing I try to keep it as simple as possible and stay out of their way and serve the song as best I can.
One of my favourite roles is adding flavour to other people’s music. I play a few instruments to varying degrees of competency and I’m always trying to improve. During lockdown I’ve built up my own little studio and learned how to self record. I can now contribute to projects remotely which I’m very excited about.
Your debut album began life back in 2018 with the initial song ideas and some creative input from your musical friends, Eamon Brady and Liam Caffrey. Both were central to the recording and production process of the project. Can you tell us something about their influence and collaboration?
The guys had a huge influence on the direction of the album. I would sing each song live with my guitar between 6 and 10 times, mostly without using headphones. We would then pick the take we thought was best and build on that. It was a very organic process. Then we would discuss what instruments and players we would add to the track. Eamon was all about the performance and arrangement, while Liam is the real audio expert. But both can fill either role.
You have also called upon an impressive list of musicians to add their talents across the ten songs on the album. There are appearances from Nicola Joyce, Noriana Kennedy and Noelie McDonnell (The Whileaways), Fergal Scahill (We Banjo3), Matthew Berrill (Headford Music Works / Irish Memory Orchestra), Pauline Scanlon (Solo, Lumiere, Sharon Shannon), among other fine players. How did you see their various roles when deciding how to include their creativity in the arrangements?
After I had the basic vocal and guitar track finished, we’d chat about who we would like to sing and play on the track. Noelie, Nicola and Noriana were so encouraging through the whole process. I’ve known and played with them for years. They are master songwriters and musicians. Anything they add is just going to make a song better.
Matthew was my housemate for 5 years and is one of the best Jazz musicians in the country. He can play anything and his understanding of music and harmony is way beyond anything I will ever know. He always does the right thing and can bring any song alive.
Pauline is the most gifted singer I know. She sang on The Welcome, which was written by Tony Small. Pauline knew him well and he was very influential in Dingle, where he lived for many years. I loved the song so I was delighted she sang that song with me.
Wil Merrigan added tasty double bass to some of the tracks. I tried using electric bass but it didn’t suit my songs, so Wil came in and really helped bring the songs to life. He’s a real pro.
Fergal and I were neighbours growing up in Corofin. He is a world-renowned fiddle player among many other instruments. He is as good at playing behind songs as playing blazing tunes. I was lucky to be able to call on him for his beautiful playing.
It was great to call on dobro wizard Tom Portman, Gerry Paul (electric guitar) and Shane O'Donovan (drums) to complete the picture.
It is an ambitious undertaking and how did you find the process of seeking financial support, via your KICKSTARTER campaign?
Crowdfunding is a great concept. It allows the listener to buy into the project at an early stage, thus providing the finance to bring it to completion. I wouldn’t have been able to get it onto Vinyl and CD with all the artistic presentation without that help.
Was the recording momentum stalled during the initial Covid-19 lockdown of 2020 and the sudden lack of mobility and access to playing with others in a studio setting?
I had about 80% of the recording complete before the lockdown. We mixed the album remotely during lockdown using new technology. Liam and Eamon could mix and I could hear the results in real time. It was amazing really. It’s something you couldn’t have done a few years ago.
The album release was in December 2020, a challenging time of year to try and make an impact. Were you pleased with the initial reaction to the launch?
As part of the Kickstarter process, I emailed out a download link to all the backers in early December before the official release to streaming and download services. I got some lovely emails and reactions from people, and I got the feeling that people listened to it as a whole piece of work. I probably went against the normal process of releasing a single followed by another, and then the album. I just wanted to get it out there to do its thing naturally. I’m still a big believer in the concept of an album, the running order and that it is a snapshot in time.
You speak of being in the Folk tradition, but there is also a very Irish twist running through the moods of the music; an atmosphere of reflection and a plaintive yearning. Is this something that you were chasing?
I think folk music is a living thing and can be independent of the style in many ways. It’s music for everyone to enjoy and share. I suppose deciding to include one of Tony’s songs on the album may help bring that beautiful song to new ears. I’d love it if one of mine could someday be passed on for someone else to sing. I try to look out as much as I can when I write. There is of course a lot of personal stuff within the songs. Everyone is carrying some burden. For me melody, simple words and singing can be a great healer. I love how voices and instruments bounce off one another.
There is a sense of loss but also of hope and optimism in what lies ahead. Do you think that you have captured the spirit of these difficult times that we are living through right now?
The songs were all written before the pandemic. It’s great that you hear hope and optimism in the songs, as I’m always trying to direct them that way even if they start out differently, and a lot of them did start during a time of grief for me personally. We all need hope especially in these trying times.
What was the inspiration to use Abbey Road Studios as part of the mastering process?
John Astley who mastered the album advised me to get the vinyl cut in Abbey Road with Miles Showell. He is an expert in half speed mastering, which gives the best possible audio quality on Vinyl.
The ensemble playing is a real delight on the album and I’m sure that you are very proud of how everything turned out?
I’m delighted. I’m blessed that my best friends are also such talented musicians. I love how different instruments can bring something to a song, and having such a pallet of sounds to choose from was inspiring.
Are there any plans to tour the album once we get the green light to return to live performance in the coming months?
I’m going to wait and see. I’d like to wait until I can perform the songs in front of a real audience. I’m hopeful that I can do this before the year is out. Certainly I’ve been finding it a little difficult to finish songs that I’m working on at the moment. I think when I know I can go out and play them to a real audience they will come together. I’m doing a tour in the UK with Bird On The Wire (The Songs of Leonard Cohen) in September. I’m very hopeful that this can go ahead. A lot of the musicians who played on my album are involved so it will be very exciting for all of us when we hit the stage eventually.
It has been so hard to develop any real concrete plans during lockdown. Have you been trying to perform online in any capacity and have you used the time consider your next steps?
I did a very short online gig with Galway Music Residency in December. Myself, Matthew Berrill and my good friend Eoin Wynne did a stripped-down performance of some of the songs from the album. It was actually a lovely experience but what performers and the audience are really craving the real thing at this stage. I think a lot of people are suffering from online fatigue.
Interview by Paul McGee
Video link: https://www.youtube.com/watch?v=jgqUfNK_Ygg
Album is available to purchase at https://daveclancymusic.com/shop