When the great John Prine passed away in April 2020, he left not only an enduring legacy in his timeless music but he also left the ongoing opportunity for young artists to develop their music careers, via his independent record label, Oh Boy, founded back in 1981. The label has gone from strength to strength ever since, even turning down an offer from Sony to buy it. Before he died, John signed Kelsey Waldon to the label in 2019 and added Arlo McKinley in 2020. These days, the management of the label is carried on by his wife, Fiona and her son, Jody Whelan, as label chiefs. During Covid lockdown in 2021, Jody contacted emerging star, Emily Scott Robinson, and asked her to join the label, making her the most recent addition to a richly talented, and extended musical family.
The label represents all that is good in people management, always putting the best interests of their artists front and centre, a strategy that has produced a very healthy relationship among all involved and which ensures that the influence of John Prine continues across the generations.
The Cellar Bar is the perfect venue for intimate, acoustic evenings and, with Fiona Prine in attendance, we were treated to the last night in the Oh Boy European tour, which showcased the many gifts that these three most recent acquisitions bring to the label. It has been a quick tour, across seven dates, and visiting Germany, Holland, England, Scotland and Ireland. Perhaps it was fitting that the final night was hosted by Dublin as Fiona Prine was welcomed by the enthusiastic crowd who shared in her obvious joy at the event.
The range of talent was very impressive with the superbly gifted singer-songwriter Emily Scott Robinson taking the opening set, armed with just her acoustic guitar and a warm, welcoming smile. It was Emily’s Irish debut and she certainly impressed, drawing lengthy applause from the crowd who quickly realised that they were witnessing the unveiling of a special talent. Emily has a beautiful voice, comfortable at all ranges and filled with rich nuance and inflection in her delivery. She has a very natural stage presence and her easy conversation between songs had everybody enthralled. There is no doubt that we are catching Emily at the start of what will be a very big career as she continues to develop her art. Included in her short set tonight were songs taken from her most recent album, American Siren (2021), and she performed Lost Woman’s Prayer, Let ‘Em Burn, Things You Learn the Hard Way, Cheap Seats and Old Gods with both subtle charm and some impressive guitar playing. She also included the single, Time For Flowers, a song that was instrumental in getting her that initial Oh Boy interest which led to her joining the artist roster. Her insights into the human condition are a real treat across her three albums to date, and her way with words is a gift that elevates her music to increasingly impressive levels. Quite superb…
Arlo McKinley has also released a few albums and his understated onstage persona is laced with an impressive laconic drawl. His vocal delivery is powerful and reminiscent in part of Steve Earle. Starting out with the excellent We Were Alright from his 2020 album, McKinley impresses with his committed performance and his genuine raw talent. Bag Of Pills from the same album is another highlight as the superb lead guitar parts of Chuck Light colour the performance and lift the arrangements. The dynamic between the two musicians is very strong and despite not introducing his partner, you can see the obvious energy between McKinley and Light. Stealing Dark From the Night Sky (from an upcoming release), and a cover of the John Prine classic How Lucky (from Pink Cadillac), and dedicated to Fiona Prine, are other stand out moments. A new song, I’m Falling Again, gets an airing and an older song, This Damn Town, is also performed with a great dynamic. A cover version of John Deere Tractor (L. John Hammond) is dedicated to the memory of his Mother and it sums up this gentle soul, despite his somewhat gruff image, as one of the newly lauded talents on the current Country scene.
Kelsey Waldon last visited Dublin in February 2020 as part of her album tour. She makes reference to the fact that it’s better to be back under happier circumstances, with the then-looming threat of Covid now a reality that we deal with on a daily basis of taking care. She plays both Kentucky 1988 and Very Old Barton from that album, White Noise/White Lines. There is a new album due shortly, No Regular Dog, and Kelsey gives the attentive audience a sneak preview with tracks, Sweet As Love and Backwater Blues, dedicated to her Dad, as she recounts growing up in North Kentucky in a house that was built on stilts to avoid the regular flooding that occurred in the area. It sounded like something right out of the novel, Where the Crawdads Sing… Another track from the forthcoming album, Simple As Love, is dedicated to the fact that she is now in a long-term relationship, has quit drinking and that life is good. Kelsey is an assured performer and a fine guitar player, highlighted by the powerful delivery and her voice blending sweetly into the rhythm and melody of her reflective songs.
The night draws to a close with all the musicians taking the stage for a rousing version of the John Prine classic, Paradise. It celebrates the joyful feeling of just being in the moment and allowing the music to sweep everyone away to a place beyond our daily push and pull. A pleasure to have been there.
Review and photographs by Paul McGee