Kimmie Rhodes @ Seamus Ennis Centre, Naul - 21st March 2015

It was another full house for Lubbock native Rhodes and her son Gabriel in this intimate listening room. From the moment Kimmie walked onstage with a cheery “There you all are2 a raring to go Rhodes played a two part, 19 song set. As one might expect the set included many numbers from her latest album Cowboy Boudoir “the new songs don’t become old songs unless you play them” she teased. As well as these new songs there were old favourites such Love and Happiness and a number of covers including the set closer Townes van Zandt’s White Freight Liner Blues.

As with any live performance from Kimmie,  a large part of the pleasure comes from the between songs stories and observations which doesn’t take away from the dexterous guitar playing from Gabriel, who locks in totally with his mother. His acoustic lead playing added a great deal to the overall sound. Rhodes herself sings better than ever with a clear and concise but human voice. It is coloured by her Texas accent, something that, as with her speaking voice, adds to her uniqueness.

Some of the stories told included the town she grew up in; “Don’t go” she told us as it is a great place to be from, she says, not in. She talked about other famous sons of Lubbock including Joe Ely, Jimmie Dale Gilmore and Buddy Holly. The duo played a fine version of Raining in My Heart in tribute to the great man. She talked about how people wondered what was in the air that produced so many great writers. Gilmore, she explained, says that it may have something to do with all the DDT sprayed all around the area when they were growing up and following the trucks around! She also mentioned another local town called Shamrock which she noted was even worse, other than a waterfall-style lamp that she liked to see whenever she passed through as a child.

One song from the new album was Yes. This was the first song she got the audience to sing along with, the chorus emphasising the positivity of “Yes, yes, a thousand times yes”. On a slightly darker theme was Lover Killing Time. She told us that she had wanted to write a mean song like some that Loretta Lynn had written and this was her contribution. She also talked of her love of Ray Price and on hearing of his passing had cracked open a bottle of wine and played every Ray Price song she could fine. Willie Nelson was another legend whom she praised and then had the audience sing his part on the song thereby has recorded together, Love Me like a Song.

She also got everyone singing on God’s Acre , “a song about dying and being buried”. She played us Bells of Joy, a song she had written for the Gospel act of that name. Kimmie noted that their lead singer had shuffled onstage with a walker and told Gabriel to stop her if she ever got to that stage. All this was related with her customary good humour. She played Donovan’s Catch the Wind for which Gabriel played a shaker and  cardboard box, which was effective and it  brought a different tone to the song. Rhodes gave us the story of her father and her upbringing among carnival folk and how he was supposed to be a used car salesman but was often engaged on something more nefarious while she sang songs for a dime, some of which she gave to her brother to avoid getting beaten up. She then played the song she had written for him Wind Blown. Contrabandistas was performed with a nice south of the border feel, very much the feeling of the song. It was first recorded back in 1981 with her band The Jackalopes. This again highlighted how this duo could ring the changes during their set. 

 This was a show where both audience and performers united and made for a evening that many would happily repeat. Kimme Rhodes can invite us again anytime into her intimate cowboy boudoir.

Review: Stephen Rapid   Photograophy:Ronnie Norton   Editing: Sandy Harsch

Jim Lauderdale @ Whelans, Dublin - 3rd March 2015

Just a year since his last Whelans appearance, Grammy  Winner Jim Lauderdale returned for a solo show. One of the most influential singer/songwriters on the country/Americana music scene for the past twenty five years Jim has recorded over twenty albums. His songs have been covered by Vince Gill, George Strait, Elvis Costello, Patty Loveless, Lee Ann Womack and The Dixie Chicks among others. He has been particularly prolific in recent years with three album releases in 2013 alone, followed by the twenty track I’m A Song album released last year. “It’s really a double album but we squeezed it onto one disc to save plastic and be environmentally aware’’ was his ironic comment.

Immaculately dressed in a Manuel ying-yang logoed shirt and trouser creation,  Lauderdale took the stage and treated the audience to  ninety minutes of bluegrass and country songs with  nods to rock, blues and soul with the material drawn from his debut album Planet of Love through to songs from an upcoming release recorded in London with Nick Lowe’s band.

Jim’s stage presence and charisma are unquestioned, but a genuine warmness is evident towards his audience, with eye contacts, smiles and banter throughout. “It’s good to be home” he announced after the first two songs and if the same line is to be rolled out at every gig, he makes it sound as if it is really from the heart.

A broken guitar string during one song barely interrupts his rhythm as he casually changes guitars mid-song before requesting assistance from the audience to replace the broken string. His setlist features selections from his collaborations with Dr.Ralph Stanley (Feel Like Singing Today) and Robert Hunter (Black Roses) together with the title track from one of Lauderdale’s three 2013 releases, Old Times Angels, a song co-written with Daniel J Smith. To compensate for being solo Lauderdale jokes that “in the absence of my crack backing  band I  need to sing the steel guitar sections’’ and does so. Note should be taken of his guitar playing skill that mixes solid rhythm with some excellent lead lines.

The King of Broken Hearts follows, written in tribute to Gram Parsons and George Jones. This has also been recorded by George Strait and Lee Ann Womack and has been rerecorded for I’m A Song as the original version, which featured Emmylou Harris, is no loner in print; something that is unfortunately true of many of his earlier albums. The song also is the title of a documentary of Jim’s musical journey. His excellent 2006 album The Hummingbirds is represented by the rootsy title track and There and Back Again.

The set finished with Trashcan Tomcat and the title track of Headed for the Hills, Lauderdale’s 2004 album co-written with Robert Hunter.. The encore fittingly comprised Lost My Job of Loving You and It Hurt Me a song from Buddy and Jim, the album recorded with close friend Buddy Miller. 

Hopefully Jim Lauderdale can deliver on his ambition to host his Music City Roots show in Dublin in the future, as he mentioned, but in the meantime one is left with the memory of enjoying a very special artist who, as he usually does, mingled with the audience after the show. This was a fitting end to a fine evening.

Review by Declan Culliton   Photograph by Ronnie Norton   Edited by Sandy Harsch

Greg Brown @ Whelan's - Thurs 5th Feb 2015.

It is not very often that the term "Living Legend' is used in the true sense. Many have been tagged with such a label in the past and few have either deserved the title, or indeed lived up to the billing. However, if there was ever a musician, singer, songwriter who was worthy of the crown then it would have to be Greg Brown.

A veteran of the music scene since 1974, when his fledgling first release saw light, this raconteur and troubadour has been responsible for some of the most insightful writing over the last five decades of independent music.

Call him folk, call him country, call him a blues musician - call him what you will. This artist has endured at the cutting edge of an industry that is not big on longevity, producing close to 30 releases across 40 years of active service.

Playing his first gig in Ireland after all this time is both a frustration and a joy. Frustration that for so many years we have been deprived of seeing Greg Brown perform here in a live setting and joy at the fact that he finally showed up, with guitar and fishing hat, to play two sets of wonderful songs.

He revisits his extensive back catalogue without much prompting and this goes a long way to satisfying the most strident of fans who have come to hear a personal favourite.

We are taken back to 1981 with Out in the Country while In the Dark With You dates to 1985. The Cheapest Kind (1988) is introduced with memories and stories of family and Band of Gold (1990), Spring Wind (1992), The Poet Game (1994) and Brand New 64 Dodge (1994) are all given an airing.

His guitar playing is both effortless and loose, with a seamless style that has always placed Greg Brown above the majority of performers and song-writers. The audience are hushed and display a reverential awe as he reflects on aspects of his life and the world in which we find our place.

In the Dark With You (1985) and Hey Baby Hey (1996) are played plus a stirring version of Down at the Mill also gets a rare outing. His most recent  release Hymns to What is Left is on sale at the gig and he gives us four songs from it that sit comfortably alongside the previous body of work with one song, Fatboy Blues, highlighting a wicked sense of humour and an insight into the human condition. Bones Bones, Besham's Bokerie and I Could Just Cry all show that the true poet continues to beat in a heart that displays both a humanity and humility in all that is communicated.

We are treated to cover versions of Vigilante Man (Woody Guthrie) and Not Dark Yet (Bob Dylan) - a vibrant version of Like a Dog, complete with howling, and an encore of Jesus & Elvis, a clever song that was originally released back in 1994.

Greg Brown sings during the song Why Do You Even Say That?  "I ain't some fish you caught, can't keep me on a string..."  This just about sums up the true nature of the man; an old wisdom, much insight and a grizzly bear voice that makes you believe every word he sings.

During the gig Greg Brown states that he was never really a fan of the sensitive songwriter folk. However, his career and his releases have displayed the essence of sensitivity in his writing. What an absolute pleasure to be there.

Review and photograph by Paul McGee

Ryan Bingham @ Whelan’s, Dublin - 31st Jan '15

Taking the stage with just a single guitar and a winning smile, Ryan Bingham kicks off his short European Tour to a packed Whelan’s tonight. It has been 3 years since he last played here and the lack of his fine band, the Dead Horses, this time around does nothing to dampen the spirits of a very enthusiastic crowd. This gig can be likened to hitting a home run as there is no sitting on the fence for an audience full of die-hard fans, who sing along to most of the songs. Wearing a fine looking cowboy hat, Ryan Bingham cuts an impressive figure and his confidence in playing and communicating stories between songs leaves everybody hanging on his every move. The tour is in support of a new record, Fear and Saturday Night, his fifth release since 2007.

His performance has matured over the years and he is a very accomplished guitar player which supports his excellent song writing perfectly. He sings like he means every word and his dusky, gravel-like delivery is very heartfelt, as he performs a number of new songs from the latest release. Thanking the crowd for their patience we are treated to seven new songs and all are received as if they were old favourites already. In addition we are taken back through his impressive catalogue and thirteen more songs complete a show which runs for over 90 minutes including encores. No breaks needed just pure talent in the writing and the delivery of every song. Starting with Poet and Workin’ for a Dollar a Day, the room is in full swing when he introduces new songs Nobody Knows My Trouble and Broken Heart Tattoos.

Tell My Mother I Miss Her So is followed by Mr Dylan’s Hard Rain before we get more new songs in the shape of My Diamond is Too Rough and Fear and Saturday Night, the title of his new recording. We are then treated to a Mariachi song La Malaguena which is a real winner and raises the temperature in the room even higher. Old favourites like the Weary Kind, Hard Times, Southside of Heaven and Sunshine all get an airing and are performed with conviction and a compelling talent. Bread and Water is kept until the encore, with some very tasty bottle-neck playing and the show closes with the excellent Ever Wonder Why?

Speaking of his appreciation to fans that come out to support his music and spend their hard earned Euros on a Saturday night, he is self-effacing and comes across with an honesty and integrity that makes Ryan Bingham so popular to an increasing army of admirers on these shores. Long may he run and we are already looking forward to his return.

Review and photograph by Paul McGee

The Music Network @ the Sugar Club - January 15th 2015

Maura O’Connell, Karan Casey, Martin Tourish & Ed Boyd kick off a series of 11 dates at a packed Sugar Club, where an enthusiastic audience come to celebrate the essence of the Music Network in Ireland – Making Live Music Happen.

With performers of this quality we are guaranteed an evening of deeply rich music and singing and we are not disappointed with the results.

Maura O’Connell is a frequent visitor to her native Ireland but it has been some time since she took to the stage and performed. Sharing the spotlight with the richly talented Karan Casey, they make for a compelling duo and are ably assisted by both Ed Boyd (guitars) and Martin Tourish (Accordion).

Martin is currently a member of Altan in addition to being a composer and producer. Ed plays in Lúnasa and is in great demand on the European Folk circuit. Together, the two musicians provide the perfect backdrop for both Karan and Maura, who blend their voices in beautiful harmony.

All the more impressive when we learn that the four artists have not performed together live before and with only limited rehearsal time; they deliver a two hour performance filled with charm and warmth.

The Sugar Club is the ideal venue for nights like this with the intimate atmosphere perfectly in unison with the individual performers, whether performing a number solo or interacting as a group.

We are treated to Summer Fly and Shades of Gloria as the music warms up the audience on a cold and windy evening. Karen sings Lovely Annie with all the subtle grace that her voice delivers and we are then given a couple of instrumental tunes featuring a piece from Martin’s recent solo release Under a Red Sky Night.

Maura has a lovely tone to her vocals and is the focal point of the performance with her great charm and witty comments. She puts everyone at ease with her between song observations and stories and whether voices are raised in celebration, on the terrific Mick Milligan’s Ball, or in reflection, the superb Patty Griffin song Mary, a potent mix is present as these artists deliver a performance of the highest quality throughout.

The musical talents of both Ed Boyd on guitars and Martin Tourish on accordion are the perfect complement in filling the song spaces with much colour and gentle melody. They are joined for a few songs by Ciaran Tourish of Altan who adds fiddle and some of the interplay is simply breath-taking.

Maura sings a new Janis Ian song I’m Still Sanding, which is a fine way to end the first half of the show and after a short break we are back for more treats in the shape of Wayfaring Stranger, where Ed gets to channel his inner Johnny Cash. The Nanci Griffith classic Trouble in the Fields is sung with great insight and passion by Maura who speaks of our emigrants and the price to be paid as a Nation in building a future. Maura also sings from her Naked With Friends release, a solo voice raised in sympathy with the disappeared in various countries around the globe, Hay Una Mujer Desapercida.

Karen sings a duo of Irish songs, Aililiú Na Gamhna, proving to be a particular favourite. The Curra Road by Ger Wolfe gets an airing as does a Frank Hart song. Maura sings W.B.Yeats, Down By the Sally Gardens, in her own unique style and channels a wistful longing in her delivery.

It is indeed a true gift to be in the presence of sublime artists who become lost in the moment and the essence of the song. Never more so than the closing song by Jonell Mosser, The Blessing and the encore of As I Leave Behind Nédín with audience sing-along. Enriching and Inspiring.

Review by Paul McGee  Photography by Ronnie Norton 

My Darling Clementine @ The Conservative Club, Dublin 28th November 2014

 

Making their Dublin debut Michael Weston King and his wife Lou Dalgleish brought an acoustic version of their joint My Darling Clementine project to the intimate surroundings of the Dublin Conservative Club. King wryly noted that this was the first time he’d stepped into a Conservative Club and perhaps should have brought some copies of the Morning Star with him. After some initial problems getting a balance on the house PA they delivered a set of original songs and covers that appealed to the captivated audience.

They opened with That’s All It Took, a song recorded by George Jones and Gene Pitney and also by Gram and Emmylou. Other songs in the set aside from their own material included the Jones’ She Thinks I Still Care as well the genuine encore of Pete Seeger’s Mary Don’t You Weep. They had earlier played a “false” encore at the end of the set asking the audience to clap loudly so that they didn’t need to leave the stage go to the dressing room and then return hoping that the audience would still be there. They needn’t have worried as the applause was genuine.

Other than Endless Wandering Stars a song from King’s solo career they drew from their two albums How Do You Plead? and The Reconciliation. These included 100,000 Stars, Put Your Hair Back, Reserved For You And Me, Departure Lounge, No Matter What Tammy Said (I Won’t Stand By Him) as well as such potential country classics (in an ideal world) as No Heart In This Heartache, I No Longer Take Pride and I Can’t Live Without You (When You Can’t Live With Yourself). They may be calculated songs written to purpose but that doesn’t diminish their effectiveness or memorability.

The most poignant moment came when the sang Ashes, Flowers and Dust a song written by Dalgleish in memory of her mother and of King’s father. It longs for a moment when the departed parents could (impossibly) come back to hold their daughter’s hand one more time. It stuck a chord with many in the audience and was a genuine moment of sadness shared. But while much of the rest of the evening’s songs dealt with martial disharmony and strife it was done with an underlining sence of levity that understands the nature of farce that us inherent in such a construct.

Hopefully the there will soon be another episode of this ongoing country soap song cycle that has struck a chord for both performers and with the public at large and finds them delivering some of the best traditionally based, but forward looking, country music being made in the UK (or elsewhere) at the moment. What is readily apparent from this performance is the individual strengths of both vocalists delivering songs that, though imprinted with some ironic and iconic humour, have depth and understanding. They mirror real life experiences in a way that the best of country music has always done.

Not lost or even gone My Darling Clementine promise to be back next year with a full band in tow and that is something not to be missed. Here, however, with just two voices and a tambourine they are an enjoyable evening out that enlightens and entertains.

Review by Stephen Rapid   Photograph by Ronnie Norton

Chevron Lives @ Sugar Club - Sun 23rd Nov 2014

 

Philip Chevron lost his brave battle with cancer on 8^th October 2013 and tonight at the Sugar Club we pay tribute to the man, his influence and the body of work he has left behind. The proceeds are destined for St. Francis Hospice in Raheny, who cared for Philip at his home in his final weeks, in recognition of the fine work they do.

A musician, a songwriter and a rebel soul, Philip Chevron spent a life in service of his craft. His sense of place in the history of Irish music should not be underestimated. If Joe Strummer was the voice of the common man and held as the image of non- conformity in the UK punk movement, then Philip was his Irish brother in arms.

The music of1970’s Ireland was populated by great characters like Philip Chevron, who embraced the rebellion of the punk movement and the march towards a DIY attitude to music. If you could plug in and power up then you were a player. The Radiators from Space grew out of this movement and went on to make a local mark on the Irish musical landscape, disbanding in the early 1980’s, returning to action in the early 2000’s.

Tonight we have two original members of the Radiators, Pete Holidai and Stephen Rapid, in the guise of the Trouble Pilgrims, who are joined by current members Johnny Bonnie (drums), Paddy Goodwin (bass) and Tony St Ledger (guitar).

Philip Chevron was a fine lyricist, writing songs that reflected what it was like to be uniquely Irish. Whether playing in the Radiators or the Pogues, producing music or collaborating with other artists, the words of songs such as Under Clery’s Clock, Ballad of Kitty Ricketts, Thousands Are Sailing and Faithful Departed are timeless and endure the passage of time.

The performances of all present on the stage tonight are both eclectic and original, with the fabulous talents of Púca Puppets, Lars Vincent, Cait O’Riordan, Daniel & Raymond Meade, Gavin Glass and the Holy Shakers and the Pilgrim Souls.

Master of ceremonies, Karl Tsigdinos, keeps the pace ticking along and there are no long delays between acts, which makes the evening more enjoyable and seamless.

We are also given readings and musings from writers Joe O’Connor and Roddy Doyle, so literate and very Dublin, beautifully performed and very apt to the evening. Brendan Behan is included with a musical version of his poem ‘The Captains and the Kings’and Agnes Bernelle is covered by Púka Puppets with an adaptation of a Brecht/Weill song.

From Glasgow, we meet Daniel Meade, a country singer who has recorded his new album Keep Right Away in Nashville and who plays an impressive set of songs before being joined by his brother, Raymond Meade - a singer/songwriter who Philip recorded with. Both are impressive performers and sing together with great harmony, as only siblings can. They play with passion and panache on this special evening.

Cait O’Riordan guests with a number of the acts and performs, as always, with confidence and that great smile.

Lars Vincent, a folk singer who is gaining a strong reputation, also performed with great enthusiasm and energy. He has a terrific voice and really contributed to the goodtime vibe on the night.

Gavin Glass has really developed into a significant Irish musician at this stage of his career arc. He is an accomplished performer and has assembled an impressive coterie of musicians in the Holy Shakers. We get a preview from his upcoming release ‘Sunday Songs’ and the band play with great feel and finesse. At times you can hear the influence of the Band / Wilco in the arrangements and delivery.

However, the nigh belongs to the Trouble Pilgrims who channel Philip Chevron perfectly with their set that closes the evening in a flourish of energy and verve. A great backbeat is coloured by the fine guitar work of both Pete Holidai and Tony St Ledger, while Stephen Rapid lifts proceedings to a new level with his imaginative synth playing on keyboard and Therimini, the latter controlled by hand movements.

We are treated to an unplugged version of Faithful Departed by Pete Holidai, who sits in a chair and lets the power of the spoken work deliver the salutary message contained in the lyrics. “There is no pain that can't be eased, by the devil's holy water and the rosary beads”.

A story that probably best highlights the spirit of Philip Chevron is the recent donation of three of the most prized guitars from his collection to the inmates of Mountjoy Prison. This is a new initiative that aims to use music to help rehabilitate prisoners.

Rock on Philip Chevron.

Review by Paul McGee Picture collage by Ronnie Norton

Carrie Rodriguez @ Workman’s Club 12th Nov 2014

 

Tonight we are treated to one of the most compelling talents in modern Roots/Americana music with the Roadworks Tours presentation of duo Carrie Rodriguez and Luke Jacobs. No stranger to these shores Carrie has quite a reputation as a fiddle player and vocalist and she is ably supported by Luke on guitar and lap steel in an intimate setting that sets a warm atmosphere.

Carrie is a very confident performance artist, the result of endless live shows over the years and she has been feted by many international artists such as John Prine, Lucinda Williams and Chip Taylor for her special gifts.

The set tonight draws mainly from her most recent release, Give Me All You Got, which was issued in 2013. It is a wonderful listen and full of interesting songs, many of which are performed tonight in acoustic, stripped-down mode between the two players, as they spark off each other with some virtuoso and spontaneous playing.

Devil in Mind has some great fiddle parts and gets the audience worked up with its pace and rhythm. Lake Harriet sees Carrie sing of her lover’s charms as she lays down a gentle percussive backing with her finger clicks and very effective too. Get Back in Love is a gentle vignette of lasting love and dedicated to couples who stay the course over many years of marriage. I Cry for Love and I Don’t Mind Waiting are two songs with a similar theme of being prepared to have patience in the face of a yearning for that soul mate to appear.

Carrie also sings a number of songs from her family upbringing in Mexico and references her Great Aunt who was a famous Ranchera singer. Mixing the Spanish tongue with the passion of Mexico, Carrie sings from the heart and a new release next year will contain a number of these new songs that are beautifully performed and played with sensitivity.

She goes back to her first release and sings the title track, Seven Angers on a Bicycle, a very moving song dedicated to her childhood friend who was killed in his early 20’s in an accident in NYC. The playing on this song was very heartfelt and the lap steel accompaniment from Luke was a perfect foil for Carrie to create a rhythmic guitar sound.

Luke Jacobs plays a few songs from his solo release, produced by Carrie, and he is a natural raconteur with his between song stories full of fun and colour. He tells of his encounter with drug dealers in Minnesota on a cold winter night when they rescued him from a car breakdown; only to be busted by the cops shortly after. He recalls his first Opera experience of Faust and then sings us a three minute country song that condenses the entire story of selling your soul to the Devil.

He is also a fine musician and dove-tails perfectly with the swoops and changes of direction taken by Carrie as, she plays in the moment. There is almost a jazz quality to some of the interplay between the two musicians and this is very exciting to witness at such close quarters.

Carrie plays a couple of fiddle tunes solo and displays all her mesmerising skills in a performance as exciting, as it is technically strong. She regularly stomps her foot in time to her playing and this adds an extra dimension to the performance. Carrie is full of passion and this is highlighted in her playing style and her impressive vocal range.

She also comes across as a very warm and joyful person and her maturity as a performer sees her as one of the best examples of new music to appear over the recent years.

I would urge you to catch one of her shows and to listen to her back catalogue of five solo albums, together with a number of collaborations with other artists.

A word for the support act of Kate O’Callaghan and her husband, Seamus Devenny, who play a beautifully restrained opening set laced with gentle guitar and violin. A perfect way to set the atmosphere for the main event tonight. I have been fortunate to catch this act on a few occasions now and they always impress, with an new depth and maturity now added to their undoubted talents, as they continue to grow as artists.

Review and picture by Paul McGee

Greg Trooper @ The Seamus Ennis Centre, Naul 24th October

     

     Making a welcome return to these shores Greg Trooper reminded us again of his talent and timbre. Delivering his song with just voice and guitar he showed that he has lost none of his wit or witnessing since he last played in Ireland. Then he was working with the late Larry Roddy, a man who had a genuine passion for bringing his favourite music to these shores.

     Trooper played 22 songs in a two part set. Many came from his latest album, Incident On Willow Street, living proof to his continued worth as a musical craftsman. These are among some of his best songs and included Steel Deck Bridge, Amelia, One Honest Man, Mary Of The Scotts In Queens and All The Way To Amsterdam. The later two were prefaced by amusing and insightful stories of their origins. The former came about from a wedding he attend that featured a bagpipe band who then were joined by the groom’s mother and by a separate story of local New Jersey legend name "Irish" Brian. Two separate sources he combined in the one song. The later song was inspired in part by a visit to Amsterdam and a comment that in the winter months one could skate into Amsterdam on the frozen canals. He took that concept and put it into the head of an abused girl in West Texas. Despite his comment that “anyone can do this shit” it’s apparent that not everyone can do it with Trooper’s skill.

     But like all the best troubadours Greg Trooper is not only a fine wordsmith he is also a great singer and a good guitar player. All that combines into a thoroughly convincing and entertaining evening in the company of an honest and unassuming man. Another new song from the latest album was This Shitty Deal which he described as one country song you would never ever hear on country radio - more’s the pity - again it has a depth beyond the unbroadcastable title.

     He also told us that when contacted by his publisher that one of his songs was going to be recorded by a Nashville artist named Vince Gill his immediate reaction “was who the fuck is Vince Gill?” But as that album, When I Call Your Name, sold by the ton he soon learned who Gill was and to love him. He praised Gill's many talents and the privilege of having his song We Won’t Dance covered by the star.

     Through the years many of his songs have been covered by other artists, and its easy to see why, but nothing beats hearing them in their original form from the man who wrote and conceived them. However don’t miss the studio albums where he employs some of the finest players to accompany him and broaden their palette

     After the interval he remarked “I’m so glad you came back” as, he continued, there’s nothing worse that taking a short break only to find the audience has disappeared in the meantime. No chance of that here though. Further tales relating to the songs were given. Diogenes he related used to walk around with a lamp looking for one honest man. He turned that into a song about a woman looking for a similar person in One Honest Man. While Einstein, who once said that “everything’s a miracle”, was the spark for a song of that title.

     There were a number of requests from the audience and these found their way into the set towards the end. They included the sombre Damaged Eyes, the venue appropriate Ireland  - song about a girl from Brooklyn and Inisheer - about, well, Inisheer. A song he revealed had been covered singer from Friesland in her native language. No Higher Ground tells of the flood in Galveston,Texas that killed thousands of people in a hurricane in 1900. A natural disaster of which they had been warned about, but ignored, by the weather service in Cuba. See you learn stuff too as well as being entertained.

   He thanked everyone for coming “I couldn’t do it without you”. It works both ways Greg - come back soon. 

Review by Stephen Rapid  Photography by Ronnie Norton

Howe Gelb and Grant Lee Philips @ Whelans 11th October 2014

The show opened with Howe Gelb, dressed in denim, coming on stage and stating that he would be performing songs that dealt with “the ramifications of love” and that they were about 30 years on the road and how he attempts to stay at home and his attempts to stay away from home. “There will be musings” he warned and indeed, across his two solo segments, he let the muse inform his music. There were false starts, unremembered songs or as Gelb put it “that song doesn’t really know me yet”. He told us as he stopped and wondered out loud “how does it go?” He then moved to the keyboard saying,  “let me try this thing. It looks so beautiful”. He played the keyboards then for awhile but it was more an exploration of the instrument than a song.

 Gelb next picked up an electric guitar, inviting the audience to guess when it was made. 1956 it turned to be the year. This segment brought out the best response from the now full audience. “What night is this?” he asked and on hearing it was Saturday he apologised for not putting on his Saturday night suit and promised he would do so for his second half. He then brought on a guest who he announced was the author of the recent Leonard Cohen biography. Out came Sylvie Simmons, the English writer, wearing a plastic tiara, as it was her birthday. She was carrying a ukulele and sang Just a Lonely Cowgirl, which was fun, while Gelb accompanied her on piano. Simmons was in town for a literary festival in Dublin.

Gelb indeed did change into his suit, white shirt and bolo tie for his second solo slot. He also wore a baseball cap to keep the light from his eyes, but felt it was a little “Paris, Texas” and he took it off every now and then. He again used the electric guitar effectively before turning once more to the keyboard which on pressing various buttons went through a range of sounds from strings to voices. This was all entertaining, but somewhat bewildering for much of the audience who were there to see Grant Lee Philips, judging by the applause that greeted Philips’ eventual arrival onstage.

In his first set Philips sang some songs from his back catalogue which went down well, but he then, especially during his second set, concentrated on material from his new solo album while fending off constant calls from segments of the audience for songs from the Grant Lee Buffalo album Fuzzy,  such as Dixie Drug Store. “Ain’t going to happen” he responded saying that some of those songs were so old they were mould and that even the band wouldn’t remember them. He seemed more comfortable singing the new songs, despite his self-deprecating comment that he had got a little larger since his last visit, was in fine voice as he accompanied himself on his acoustic guitar and, occasionally, on Gelb’s electric guitar.

The duo also performed a number of songs, or perhaps best described as a flirtation with a number of songs, together. Gelb asked the audience “anything you don’t want to hear?” and described himself and Philips as “good cop/bad cop” but neither was sure who was which. Gelb noted the way Philips had swaggered onstage and declared he called him “Swagger Lee”. Still ignoring the shouted request the pair delved into such songs as He Stopped Loving Her Today and closed with a tender version of the Velvet Underground song Pale Blue Eyes that morphed into Blue Eyes Crying In The Rain at times and ended what was an shambolic, out-there, if entertaining performance.

It should also be note that Gelb paid tribute to the late and much missed promoter Derek Nally towards the end of the performance and for that alone he deserves thanks. 

Review by Stephen Rapid  Photography by Ronnie Norton

Sturgill Simpson @ Whelans - 4th October 2014

The evening opened with a fine set from Glasgow country artist Daniel Meade who was accompanied (with great verve) on vocal and guitar by Lloyd Reid. He delivered a mix of original songs like If It's Not Your Fault I Guess It's Mine and Not My Heart Again alongside covers such as Sitting On Top Of The World and Cold, Cold Heart. All appreciated by the full house audience.

It's not that long ago that Sturgill Simpson made his debut in Dublin supporting Laura Cantrell. That time he was solo but this time out he is accompanied by his three piece band. "Dublin, How ya doin' " was his opening greeting as he launched into Sad Song And Waltzes a Willie Nelson song before giving the audience a mix of covers and songs from his first two albums. It was an explosive show with the band firing on all cylinders. The rhythm section of Miles Miller and Kevin Black lay down a solid foundation for Simpson and Estonian guitarist Laur Joamets (known to the band as Jo) to dazzle with their six string skills. Simpson commented that he had to go to Eastern Europe to find a guitarist who knew how to play country music. Boy what a find.

Joamets could rock, twang and fingerpick with the best. He drew a wide variety of sounds from his Telecaster. Topping this is Simpson's voice, a deep resonant instrument that has brought comparisons to that of Waylon Jennings. Something he noted before he played the aforementioned Jennings' I've Been A long Time Leaving. There where echoes of other greats too guitar wise, such as in the "boom chicka boom" guitar that brought Luther Perkins to mind. Just one flavour in a big stew. They also played a fast and furious bluegrass song where Simpson's Martin acoustic mixed seamlessly with Joamets' Telecaster to create an exciting mesh of tones and textures.

Lefty Frizzell's I Never Go Round Mirrors and the encore of Listen To The Rain from The Osbourne Brothers were two other non original songs in the set which was high energy throughout and found many of the songs extend into long instrumental passage were all four players built on the sound to create something dynamic and beyond mere live renditions of the recorded album tracks. 

Simpson express some surprise that he was here recounting how he thought how when he had finished the album he had effectively killed his career only to find himself being invited to play the Grand Ole Opry at the Ryman Audiotorium. Something that obviously meant a lot to him. However the greater media attention that came with the success of the album had some downsides as he told of going across the alley behind the Ryman for a beer when a very drunk patron called from across the bar "oh my god are you Stewgill Wilson". A nom de plume that his band have adopted to tease him at every occasion he told us with humour.

Sturgill Simpson came and he conquered and audience that was younger and more varied than what may be seen at most "country" gigs. That energy was infectious and the band were a perfect foil for Simpson's voice and song choice. He was ably assisted with the vocals by drummer Miles Miller and everything jelled as the best live gigs should. He promised to be back and I think a great many there will be in the audience again too.

Below left Daniel Meade     Review by Stephen Rapid     Photography by Ronnie Norton

Kacey Musgraves @ The Academy, Dublin 10th July 2014

 

This gig was a prime example of how the medias can effect an artist's pulling power. Since her appearance with her band at Whelans Kacey Musgraves has appeared at the Grammys and toured with Katy Perry. All of that, and more, means that Musgraves is playing to a full house at the Academy.

As such this is a bigger show and production, There's a painted cactus backdrop and several neon cacti adorn the stage. The band, in their Manuel style suits, arrive on stage to the strains of a Morricone western theme. The open the set with Silver Lining and then run through a 19 song set that included a four song encore. 

Firstly kudos for the band's stylish suits, when most of the current crop of Nashville acts are doing their best to distance themselves from the sounds and looks of traditional country. It was also the first gig from a mainstream artist where you could actually hear the banjo and pedal steel in the mix. Recent touring with the likes of Katy Perry has given the show some cross-over polish and the rhythm section was as robust as you would expect these days in such circumstances. Overall though the band, fronted by guitarists Misa Arriaga and Kyle Ryan and including steel player Adam Ollendorff, did a good job of balancing the poppier elements with the more country ones.

The set largely drew from her Same Trailer, Different Park album as her new album has yet to see the light of day, but there were a scattering of new songs included. She introduced the first song of the encore as a new one, one that she felt would appeal to the audience on this side of the world. Cup Of Tea showed that she can hold the audience on her own with her voice and some accomplished guitar playing. Musgraves also played banjo and harmonica during the set. But it is her singing and writing skills that is her main accomplishment and her words fell on an appreciative audience who often sung along with her.

There were also a few covers mixed into the set, from her cover of TLC's No Scrubs, through to the hints of reggae in Step Off which became fully fledged as the song segued into Bob Marley's Three Little Birds with its immediately identifiable "every little thing gonna be alright" refrain. These Boots Were Made For Walking was the second encore and for it the band came back onstage and revealed that the rhinestones on the suits were actually LED flashing lights. Musgraves emerged then in a new pair of cowboy boots that were also adorned with flashing LEDs.

They closed the show with a touching acapella group harmony rendition of Happy Trails gathered around one microphone. This was after the crowd pleasing delivery of her best know song Broken Arrow.  As is the case with many country styled artist she announced that she would be at the merch desk after the show to say hello and to sign product. A good end to what her fans would doubtless deemed a damn good evening out.

There were elements that I really liked, some that I didn't, but overall Musgrave's showed her herself a savvy and solid performer and one who I will be curious as to where she might take her musical direction next.

Review by Stephen Rapid    Photography by Ronnie Norton

Holly Williams @ Whelan's - Tuesday 1st July 2014

There is a special experience to be gained from hearing live music in an intimate environment. The setting tonight in Whelan's is just perfect for the very attentive audience who have eagerly awaited the return of Holly Williams to our shores. Joined by her husband, Chris Coleman on guitar and vocals, together with Annie on upright electric Bass; Holly delivers a beautifully paced set of sublime songs, both old and new.

Her strong vocal performance and confident stage presence are balanced by a warmth in her storytelling and an honesty in performance that is both refreshing and all too rare these days. Starting with a solo performance of Sometimes from her debut album, Holly is then joined by her fellow musicians for an impressive run through a number of the latest songs from The Highway the most recent release. We are treated to close vocal harmonies and delicate interplay across Railroads, Gone Away From Me, Giving Up and Let You Go.

Holly then takes to solo piano for two songs, Alone, from the 2nd album, followed by a wonderful version of Without You, a song written to her husband and featured on the current release.

We are given cover versions of songs by Blaze Foley (Clay Pigeons), Angel From Montgomery (John Prine) and her story of a family car crash and the incredible journey back to a normal life, for her sister is very affecting and captured quite perfectly in the song With Jesus  By My Side. Drinkin' is played to great reaction and is quickly followed by a show stopping version of Waiting For June a song tribute to her grandmother, particularly poignant and strong in a live setting.

With an encore of the Hank Williams classic I Saw the LIght, Holly pays tribute to her past and the roots that have given her a great gift of insightful song-writing. We all shared the light with Holly Williams on this special night.

Review and photograph by Paul McGee

The Delines @ Whelans Wed 4th June 2014

Playing their third gig in Ireland and only their fourth in total since the release of their debut album The Delines proved their collective prowess. Damnations singer Amy Boone was front and centre at the microphone showing why Willy Vlautin wanted to write songs for her to sing. She is a singer who delivers the songs with a clear diction and a soulful delivery. Southern country soul is a prime influence on the band's approach to their music.

This was a gig that didn't rely on volume and attack to get the songs across something that marked it as a different direction to some of the more forceful Richmond Fontaine gigs. They, naturally, drew extensively from the album Colfax as the main material source but also added some interesting additional song choices such as the country classic There Stands The Glass which was recorded by Webb Pierce amongst others. They also included a song from the Deloreans that centered around the drinking a bottle of wine a day. Bassist Freddy Trujillo stepped up to the plate to sing a self-written tribute to Tex-Mex star Freddie Fender and Randy Newman's Sandman's Coming was the first encore. 

It was played as a solo performance by Boone seated at the piano before the band rejoined her for an additional three song encore. Earlier their keyboard player Cory Gray has conjured a sound that drew from the same sources as Calexico with his atmospheric trumpet playing. Sitting solid at the back and pushing everything along was Richmond Fontaine band mate and Colfax co-producer Sean Oldham.

Sartorially the male members wore suits, something that Boone mentioned at the start of the show. Which brought Vlautin's response that he normally only wore suits for weddings and funerals and that most of the weddings he attended were like funerals. A moment of humour amid a set of songs that often deal with the darker elements that life can offer. All the original songs again highlight Vlautin's skill as a writer who delivers these tales as matter of fact vignettes much as he does with his Richmond Fontaine material but here they are give new character by Boone who adds a positive dignity to the songs with the depth of her voice. It has a warmth and vitality that contrasts, at times, with the subject matter.

This was a band at ease with themselves and it allowed Willy Vlautin take the role of sideman so that he was able to concentrate on playing his left-handed SG. He is able to enjoy the sideman role and has always relished  being a part of a band setting. With so few gigs under their belt there's no doubt that things will only get better. But then they are all very experienced players who bring their collective abilities and experience to the Delines.

Mention was made too of Whelan's multi-wallpapered Green Room which they described as the nicest they'd encountered. They also seemed to enjoy what was going on in the packed venue. Something that was reciprocated by the audience too. It will be interesting to see what happens next for the band as a recording and onstage collaboration. 

Review by Stephen Rapid  Photography by Ronnie Norton

Birds of Chicago @ Whelan’s - Sunday 11th May 2014

'A bird in the hand is worth two in the bush'. An often quoted proverb on the benefits of enjoying what you have rather than wishing for something more. Well, tonight the only birds we need are flying high all over the environs of Whelan’s as they swoop and soar in a performance that was heady, heart-felt and passionate.

The mix of organic, roots music, coupled with soulful vocal harmonies, was as compelling as it was inspiring, across an energetic and joyous 90 minutes of musical celebration. This wonderful band is mainly a collective based around the talents of JT Nero and Allison Russell. Whether touring as a duo or with a full band, Nero and Russell have emerged as two of the most talented new voices in North American Roots music.

Born from the flames of previous bands, Po’ Girl and JT and the Clouds, they have discovered a power in their collective that creates some truly spine tingling moments. Their recent CD, Live From Space, has received rave reviews and brought many new fans on both side of the Atlantic. Mix a little gospel, a little soul, plenty of country attitude and you get some semblance of the forces at play here. Heard live, this couple display a spirit in performance that is really special and conjures up the celebratory feel of a revival meeting.

Fever Dream, Cannonball and Trampoline are played with intensity and a power that sweeps the audience along and the wonderful vocal interplay between Allison and JT Nero perfectly complimented by the fluid guitar playing of Will Waghorn and the subtle drumming of Joe Faulhaber.

 The song Sans Souci highlights the unique talent that is Allison Russell in all her energetic and inspirational self; a one woman performance, if ever there was one, to blow away all sense of the blues.

I cannot recommend this band more highly and please seek out their infectious music.

We are given the added pleasure of the local support act, Hidden Highways, who play a confident and compelling set that highlights their recent debut release, Old Hearts Reborn. They describe themselves as a quiet Americana-inflected folk duo and this is very much what they deliver. Carol Anne McGowan and Tim V. Smyth perform as a confident and sweetly tuned package that promises much for the future.

Once again Roadworks Tours hit the sweet spot with their choice of artists to promote.

Review and photograph by Paul McGee

Madison Violet @ The Bronté Centre – Friday 9th May 2014

Tonight's show is a real gem as we are treated to the best in modern Country/Roots music, courtesy of Madison Violet, a Canadian duo comprised of Brenley MacEachern and Lisa MacIssac. This talented powerhouse is joined onstage by Christine Bougie, drums and lap-steel, plus bass player Adrian Lawryshyn. They add rich accompaniment to the impressive sound created by guitars, fiddle, harmonica and percussion already in play. Lisa swoops in and out of the song arrangements on a mean Hofner shorty travel guitar that compliments perfectly the strong acoustic strumming of Brenley; as their voices merge together into compelling harmonies, across the set list that includes songs from their four releases to date.

Madison Violet really are a joy to experience and in full flow there are few other acts that can provide such a strong statement of quality musicianship, coupled with songs of the highest calibre. We are treated to a few new songs from a forthcoming release in Trouble, These Ships and Operator and we also get plenty of set favourites like No Fool For Trying, Small of my Heart, The Ransom, Crying, Come as You Are, Home, No Fool For Trying and Time & Tide.

Channelling all this robust, ragged energy, added to the sweet vocal power of voices raised in unison; these girls really know how to deliver a celebratory treat while checking plenty of insights into their often hilarious stories of life on the road together.

You really should treat yourself to a little Madison Violet music in your life until the next time they tour Ireland and all going well, they will continue to grow and move towards a greater media presence on our shores. 

Kudos to energetic and enthusiastic promoter, Andy Peters who has never been one to shy away from a good night at the risk of financial challenge. This wonderful venue has been host to many great music nights over recent years and I really loved this one!

Review by Paul McGee. Photograph courtsey of Paul McConville.

Beth Nielsen Chapman@The Venue, Rathoath. 30th April 2014

We are blessed this evening to be in the presence of one of the great female songwriters. The show is a real joy and filled with many happy moments, plenty of laughter, poignant storytelling and above all, wonderful music.

Beth Nielsen Chapman is a true survivor, both in life and in the music business. Having faced the death of her first husband in 1994 as a young mother, she herself has tackled breast cancer and a brain tumour in more recent years. Not that she looks for any form of sympathy as she displays a gregarious confidence and comes out swinging on all fronts.

We are treated to a number of songs from her new release Uncovered which claims back songs she had written for other artists, but never recorded herself. Some of these artists are spoken of, without any hint of name dropping, but simply relaying the facts of the background stories. We get to meet Willie Nelson, Waylon Jennings, Duane Eddy, Vince Gill, Emmylou Harris, Bete Midler, Elton John, Faith Hill, Trisha Yearwood, Don Williams, Crystal Gayle and many more...

Honourable mention is also given to co-writers on some songs and Annie Roboff, Rodney Crowell, Darrell Scott and Mary Chapin Carpenter are included in the procession of top drawer talent that has worked with this special artist.

Beth has a beautiful voice that is full of personality and warmth and her playing is both confident and impressive on guitar and keyboards. Her Irish roots also betray her natural talent as a raconteur and she communicates with her audience in a relaxed and easy style. Her musings and stories, both funny and poignant, are shared with a sense of conspiratorial glee in this intimate venue.

We hear many fine songs from the new release tonight, including Simple Things, This Kiss, Meet Me Halfway, Almost Home and Maybe That’s All It Takes.1990 saw the release of her first recording and tonight she turns back time and plays Years from it, to close the first half of the show in a beautifully controlled and powerful, reflective  delivery. The second part of the show includes All I Have, from that same original release and a song that many have used in their wedding music over the years. However, it is the encore, Sand and Water that continues to define her as a talent of rare insight into the human condition and the reflective acceptance of bereavement, central to this song, has never been more beautifully stated.

Throughout the evening, Belfast musician Ruth Trimble supports Beth on keyboards, bass guitar and percussion, displaying her fine talent as a new Irish artist of real note. Her opening set was very well received by an audience that listened intently and clapped and cheered with appreciation as she played her beautiful songs with a quiet intensity and a maturity that was impressive.

The Venue in Rathoath is a very pleasant experience and comes highly recommended for future shows. The sound in the room is perfect for acoustic sessions and the presence of a singer-songwriter like Beth Nielsen Chapman can only help grow the reputation of this hidden gem into the future. Beth returns to Ireland later in the year for a more extensive tour and I strongly urge you to catch her show. 

Review and photography by Paul McGee

Jace Everett @ Whelans, Dublin 23rd April 2014

“These are the songs, this is the show” so begins tonight’s performance with Jace Everett thanking the enthusiastic audience for coming out to see him and Dan Cohen deliver a compelling show. Cohen’s electric guitar adds both grit and textural depth behind Everett’s rhythm guitar and strong vocal presence. The songs came from the new album Terra Rosa with a couple of selections from Red Revelations and the somewhat inevitable Bad Things. Everett explained Bad Things had been on his first album and he’d fought for it to be released as a single only to find that the powers that be at radio were not duly impressed. It was not until HBO came knocking and it was chosen as the theme for True Blood that it found an appreciative audience.

Throughout the show there was some playful banter with the audience. After playing  No Place to Hide he asked if anyone understood what the song was about. “Having No Place to Hide” came the reply. To which Jace responded that it was like doing stand-up in Letterkenny! One front row member was celebrating his birthday and on being asked his age said “22”. ‘You look like shit then’ said Jace to the obviously somewhat older man. "Mind you I’m 24 and I look shit too" the over forty Everett joked.

The music, considering there were only two players on stage, had a edge due to both player’s strong delivery. Dan Cohen’s effects pedal and skill allowed him to give many of the songs different settings;  from slide guitar ridden blues to more reflective tones. Though little in the set could be labelled country,  there were elements of that part of Everett’s career in his singing and delivery. One of Them, from Red Revelations, was a particular highpoint. The stripped down songs from Terra Rosa also worked well. from. The songs,  based on Biblical stories and parables,  were far from gospel in attitude but maybe not in spirit. Lloyd’s Summer Vacation, In the Garden and the title song were all highlights in a strong set.

It’s a real shame that many more didn’t get to experience this fine duo. Dan Cohen played two songs acoustically from his new solo album Bluebird; I Want You and Love Is Gone proved to be bitter sweet,  sweet in their delivery but bitter in tone as they were written following a break-up. These two men play music that has life experience, something that the audience appreciated throughout the evening with Everett’s introductions and general good humour. They closed the set with an extended version of Buddy Holly’s Not Fade Away the left the audience with a feeling that tonight’s show would follow that particular song’s title

Review by Stephen Rapid. Photograph by Ronnie Norton

Peter Mulvey @ Workman's Club Sunday 23rd March 2014

Playing in an intimate setting can be a challenge to an artist. Something about the audience dynamic and seeing the 'whites of their eyes' has caused many a performer to freeze in the headlights of expectation. Not Peter Mulvey however, who takes the constraints of an upstairs acoustic room and simply moves through the creative gears, until he is cruising at a speed that brings the appreciative audience along for the journey. And what a varied journey it is, drawing from his extensive song writing archive, a few well-chosen covers and a stripped down introduction to his new release, Silver Ladder, which has been getting very positive reviews.

Roadworks tours, as promoter, again get it right with bringing the talents of this fine singer/songwriter to an Irish tour. Working with such artists who are under the commercial radar is not easy, as the need to make everything work financially becomes a big hurdle for all concerned. Kudos then for this independent promoter, who always displays a positive attitude, in bringing such quality artists to our shores.

Peter Mulvey plays with elegance and a passion that gives his live performances quite an edge. In addition, he is a natural storyteller and his observations of life and tales from the road are engaging, humorous and sprinkled with a wisdom and perspective gained from years of touring and playing live.

The new release is featured heavily, as you would expect, with tracks like Trempealeau, Remember the Milkman, Landfall, If You Shoot At a King, You Must Kill Him and You Don't Have to Tell Me, providing strong proof that the creative muse burns brightly within the characters and vignettes of these songs.

Knuckleball Suite and Shirt get an airing from previous releases and an off mike version of the Beatles I Will is delivered with understated understanding of the song and its universal message of love.

Support act Kate O'Callaghan and Seamus Devenny also feature, with Kate singing harmony on a few songs and Seamus providing some very interesting violin accompaniment on others. Their opening set was perfectly delivered and contained lots of fine songs which marks them as an act to watch over the coming years. Kate has a beautiful voice and writes interesting song melodies and structures.

However, the night belongs to Peter Mulvey, a generous and talented performer who also gave an earlier workshop on guitar technique and song writing for those lucky enough to catch it. He takes a simple approach to the instrument and tries to break down the barriers that can often stop budding players from progressing their talents.

As part of a song writing group that is in contact every Tuesday, Peter speaks in terms of his 'homework assignment' and the discipline of turning in a song on a regular basis. Well, tonight we are given a beautifully realised example with Are You Listening, a wonderful human insight into the frailties of relationships and the need to forgive and move on. If Peter Mulvey has any message to impart then it is essentially the song for everyman. An entertaining night and what is more, an enriching experience.

Review and photograph by Paul McGee

Sturgill Simpson/Laura Cantrell @ Whelans 18th February 2014

On a quiet Tuesday night Whelans has a good turnout to witness Laura Cantrell's return to Dublin to support her current album No Way There From Here (Spit & Polish). It is support artist Sturgill Simpson's first visit to our fair city. Having fronted Sunday Vally and his current road band it is interesting to experience Simpson in solo mode accompanied only by his nylon-stringed guitar (shades of Trigger abound) and his mighty voice. He told us the guitar was meant as a safe tour substitute for his precious Martin but he had grown to love this guitar too so his levels of anxiousness when handing it over at airline check-ins had not been eased.

The bulk of his set was taken from his excellent debut solo album High Top Mountain (Loose Records) and hearing the songs in such a stripped back form, much the way they were written, was revealing. They took on a different dimension in this setting and highlighted his skills as a writer, singer and effective guitar player. All in all a compelling package. Mid-set he said he was going to do some songs that he loved and delivered a credible version of Carter Stanley's Could You Love Me One More Time. A song that showed his long-time affiliation with bluegrass music. HIs also played, "against my better judgement" he said, Neil Diamond's Red, Red Wine. His take on Roy Orbison's Crying was sung from the depths rather than the heights.

After that he returned to his own material with a song he called "uplifting" I'd Have To Be Crazy. After declaring that "we stole your music fair and square" and delivering a traditional song he gave us a "quintessential country and western song" in Lefty Frizzell's I Never Go Round Mirrors. An aching heartbreak song well suited to his voice. Simpson showed throughout with his own writing, the depth of his understanding of country, bluegrass and beyond. He left the stage having made an impression on the audience many whom had not seen him before but would doubtless be back on his return. It is the mark of a striking performer that he can entertain whether fronting a band or playing solo or on his recordings. Look out for his forthcoming album Metamodern Sound In Country Music.

Laura Cantrell is also playing in a stripped back setting as she is accompanied only by guitarist and harmony vocalist Mark Spenser - only may be slightly misleading given Spenser skills and guitar and acoustic lap steel. Spenser has played and toured with Son Volt and had his own alt. country band Blood Oranges in the early 90s. The duo played songs from throughout Cantrell's career from 2000's Not The Tremblin' Kind through to the aforementioned No Way There From Here in a set of nineteen or so songs. 

After a brief "Hello everyone" the duo played a number of songs straight including California Rose and Queen Of The Coast. While Cantrell often includes songs on her albums by writers she admires, her own skills should not be underestimated as was apparent tonight. Her song Kitty Wells' Dresses was played after she told us a little of Wells' story. Other anecdotes including feeling jet lagged on her last European tour only to realise that she was "knocked-up" on her return. The title track of her new album was prefaced by some explanation of its history and source. The novel Death In The Family by James Agee published in the late 50s and inspiration from Franklin Bruno's use of Samuel Barber lyrics were mentioned.

Amy Allison's The Whiskey Makes You Sweeter was another well received song from early on in her career as was Ray Pennington's Yonder Comes A Freight Train. Also touching was her take on Cowboy Jack Clement's Someone I Used To Know and her reminisces on the man's eclectic interests and influence and her obvious affection for him. Something that the audience had for Cantrell in abundance judging by the applause that greeted her at the end of the show. Cantrell live is a rose that needs to bloom again soon.

Review by Stephen Rapid  Photography by Ronnie Norton