Daniel Knox @ Whelans - 2nd February 2016

Daniel Knox leaves the stage at approximately 10.45pm. Strewn at his feet are seventeen crumpled sheets of A4 paper each containing the name of a song performed during the previous seventy five minutes. Most performers normally have a dedicated set list but Knox prefers to peel off each page, crush it by hand and drop them nonchalantly at his feet at the end of each song.

This should not be particularly surprising given that Knox is quite unlike the vast majority of other singer songwriters. Impossible to categorise, the 35 year old Chicago resident namechecks his favourite artists as Al Jolson and Judy Garland and is certainly a one off with obvious nods to Scott Walker, Jacques Brel and early Jon Grant.

Famed for his self-confessed passion for nocturnal wandering throughout the city of Chicago for inspiration and his tendency for visiting hotel lobbies late at night to seek out unaccompanied pianos, the 35 year old Knox became tagged under the Americana umbrella following successful tours as support to The Handsome Family.

His set at Whelans tonight is a joy to behold as he manages to recreate, accompanied only by his Roland 700 digital piano and a melodica,  the striking vocal and keyboard delivery so captivating in his studio work. The clouded humour in his lyrics is both dry and dark depicting tales of strippers, death, cancer, syphilis ,time travel and imaginary friends but often in a humorous and tongue in cheek manner.

Despite admitting that he only sang for the first time publicly at the age of 23, his vocal range is  quite stunning, from bass to sweet falsetto and his piano work is equally impressive despite proclaiming to be a self-taught pianist who only started playing at quite a late age

Before playing Disaster, the title track of his debut album, he recalls having returned home after his first appearance in Ireland and how a fan contacted him to say how pleased he was to hear the track used on the Discovery Channel. “Used without my permission’’ he adds  “The Discovery Channel financed my next trip to Ireland!’’

Armageddon he offers, is his end of the world song, composed after a very heavy nights drinking and regaining consciousness the following morning still intoxicated yet managing to stumble to a café for breakfast .‘’Used to drink an awful lot, was really good at it, don’t drink now, retired. First thing I read was that we were at war again with someone or other so this is my contribution!’’ he jokes - Armageddon’s coming soon, The sun will crash into the moon, But we will still have a breakfast.

His self-titled album released in 2015 features predominately in the set. The whimsical Don’t Touch Me a song about germs though more specificially "a song about a girl with germs. Ghostsong is introduced as a song about death "specifically mine, when I go I intend hanging around for a while to push things off shelves and the like."

In contrast to the more macabre songs his set also includes some genuinely nostalgic tales depicting bygone days of Knox’s youth. White Oaks Mall dedicated to the demise of the traditional American Shopping Mall, "Like a dying relative in hospital waiting to drop off.” It recalls happier times spent in innocence and similarly By The Venture mourns the close of the discount stores during his teens "like Morrison’s in the UK" he notes.

Knox finishes his set by giving the audience the opportunity to purchase a photo of him at the merchandise for €10 "free CD with every purchase" he adds though with typical humour .

It’s unlikely, despite his entrancing vocal style and wonderful songs, that Knox will achieve the notoriety that he richly deserves. More probable is that the cinematic characteristics of his work will result in his music featuring in a movie soundtrack on the big screen. Let’s hope it’s a blockbuster!

Review and photograph by Declan Culliton

Aoife O’Donovan @The Button Factory - 27th January 2016

Temple Bar Tradfest got under way on 27^th January with a performance by the Aoife O’Donovan Band at The Button Factory. O’Donovan has been a regular visitor to Ireland over the years as part of Crooked Still, playing solo and touring with Sara Watkins and Sarah Jarosz as part of the I’m With Her tour in 2015. Her show at The Button Factory was the opening show of her whistle stop European tour and her first appearance in Ireland with a band.

Her Dublin gig this evening is followed by a lunchtime and evening appearance in Belfast tomorrow, "the anti- jetlag part of the tour’’ she jokes, an appearance in Glasgow at Celtic Connections, five dates in the U.K and finally a slot at The Vinterjazz Festival In Copenhagen on 6^th February. "First date at a Trad festival and last date at a Jazz festival, how about that" she noted. In fact that throwaway remark actually emphasises her well deserved appeal across many genres whether it be folk, country, trad or roots.

Her touring band consists of Anthony da Costa, a talented singer songwriter in his own right, on guitar and Steve Nister, better known for his work with Daniel Lanois and Danger Mouse, on drums. Together with O’Donovan’s polished guitar work and melodic yet chilling vocal they are more than the sum of their parts.

O’Donovan’s relaxed, gentle and charming stage demeanour often camouflages the strength and resolve of an artist capable of penning simple ballads, dark country-noir and everything in between.

She recounts having only arrived in Dublin this afternoon, quite fortunately given the weather conditions in New York where she currently resides and how she spent December in the UK before making it back to New York just in time for the storms!

Tonight’s show is sponsored by the American Ambassador and is also attended, we are told, by Aoife’s parents.

Given that her latest album In The Magic Hour has been released last Friday it is not surprising that much of her set list features material from the album.  

The title track Magic Hour is performed early in her set and hits home immediately with its striking melody and lyrics that sound almost childlike and  fairy tale in content  ("we run down to the Virgin Mary’s ban /while our mothers cried and our fathers drank /we all just trying to see where the ship sank")

Stanley Park, the opening track on the new album follows and also connects on first listen with O’Donovan’s splendid vocal range dominating. The song, we are told, was inspired by the beauty of Vancouver’s 1000 acre public park. Magpie, also from the latest album, was conceived a few years back while O’Donovan was driving to West Cork. "You arrive at this huge roundabout with only one signpost, The West!". What follows is a beautiful tale of innocent childhood memories recalling visits to Clonakilty, the land of O’Donovan’s grandfather.  The song, without chorus, brings to mind a young Joni Mitchell.

The evening also includes a short solo set by Aoife ("We are here at a Tradfest so I thought I’d play these few numbers")  including a rendition of the traditional ballad Pretty Polly followed by the Paul Brady Lakes of Pontchartrain to the obvious delight of the audience. She tells the story of performing with Crooked Still at the Clonakilty Guitar Festival some years back and how nervous she was noticing from the stage that Paul Brady was standing at bar. "He’s not at the bar tonight, is he!" she exclaims.

 She visits Fossils, her acclaimed debut album released in 2013, including Red and White and Blue and Gold, Thursdays Child, Lay my Burden Down and Briar Rose in the set.

"My Auntie Carmel requested this from the auditorium last May when I was touring with I’m With Her, I’ve finally got the chance to honour that request now, the song is obviously popular with family members" she jokes and proceeds to play Lay My Burden Down, the opening track from the debut album.

Briar Rose, without doubt the most moving yet beautiful song relating to child abuse written since Suzanne Vega’s Luka, is possibly the highlight of a splendid evening, delivered to perfection and enthusiastically received by her audience. Oh Mama is the set closer, followed by Emmylou Harris’ Boulder to Birmingham as an encore.

The overall enjoyment of the show and artist is obvious by the long queue at the merchandising desk with the ever smiling O’Donovan meeting and greeting and finishing off what has been a marvellous evenings entertainment.

To survive long term in the highly competitive music industry, extreme talent, work ethic and an absolute love of what you do are vital requirements in equal measures. Aoife O’Donovan, without doubt, possesses all three in abundance with some to spare.

Review and photograph by Declan Culliton

Lucinda Williams @ Vicar Street -19th January 2016

Tour opening nights can often be hit and miss affairs, particularly when the tour is promoting an album not yet available to the general public. Lucinda Williams’ show at Vicar Street was supporting her latest album Ghosts of Highway 20 due for release in Europe on 22^nd January. Any concerns as to whether this would be an issue were brushed aside even before Miss Williams arrived on stage. The support slot by Buick 6, her touring band, set the scene for what was to be without doubt a memorable night for anyone lucky enough to have attended the sell-out show.

As Buick 6 take the stage a female  recorded’ voice over’ requests that the audience ‘’shut the fuck up’’ before they launch into a thirty minute  opening set of  bluesy, surfy and twangy instrumentals with lots of humour on the side. Many of their instrumentals would not seem out of place on any Tarantino soundtrack.

Buick 6 consists of guitarist Stuart Mathis, bass player David Sutton and drummer Butch Norton and have been Lucinda Williams’ touring band in recent years. There chemistry on stage, during their set and particularly backing Lucinda Williams, is nothing short of telepathic and contributes to an evening of vintage Williams, so much more satisfying than her last show at the same venue in 2013.

Buick 6 have recently recorded an album, on Williams recommendation she informs us later, titled Plays Well With Others. The album contains twelve instrumental tracks and a cover of Bob Marley’s Well, Well, Well featuring Lucinda Williams on vocal. Butch Norton jokes… "all you Lucinda Williams completists out there need to buy our album at the merc stall, it’s the only recording by Lucinda of this song, you gotta have it, cheaper than Lu’s album too!’’

Thirty minutes later Buick 6 are back on stage as Lucinda Williams begins with the slow burning and bluesy Protection from the album Where The Spirit Meets The Bone. What follows is a storming one hour fifty minutes set featuring crowd favourites such as Drunken Angel and Lake Charles ("people seem to gravitate towards those two songs, most nights you come to see us they’re on the setlist’’) balanced perfectly with material from her recent two albums and her back catalogue.

Not always noted for being comfortable engaging with her audiences, the show finds her in fine talkative and upbeat form. She explains the concept of the new album, her association with the towns and cities along Highway 20 throughout her life ("some places you can’t let go of and won’t let go of you") before a moving delivery, solo acoustic, of the album’s title track.

Particularly emotional and personal mid set are two songs concerning her father Miller Williams, a renowned writer and poet, who died in January 2015. First is Temporary Nature written in 2014 prior to his death, the title being a figure of speech he often used.

"I’m gonna start crying before I even start the song" she jokes. The emotion in her vocal is obvious and well recognised and respected by the crowd. "That was so hard to get through, I can really feel your energy, thank you."

The second song in memory of her father and possibly the highlight of the evening is Dust, the opening track on the new album, recorded after her father’s death. Williams explains that she added music to the poem written by him and how difficult the challenge was. The song itself is beautifully atmospheric and augmented by stunning guitar work by Mathis.

Are You Down follows on a much more upbeat tempo, climaxing with a blistering five minute jam by Buick 6 with Williams moving side stage to observe and enjoy."It’s that time of the night already folks but I feel like playing on unless they kick us off the stage" adds Williams and maintain the already high energy levels for the remainder of the set which features Essence, Change The Locks and Honey Bee, before leaving the stage.

For encores Williams comes back on stage and performs a moving solo acoustic version of the Jimi Hendrix song Angel ("dedicated to all the treasured musicians and lost spirits who passed away in recent years, Lou Reed, Ian Mc Lagan, David Bowie, Lemmy and Glen Fry")

The finale is the staple Joy followed by a rapturous Rockin’ In The Free World with the band stepping back to allow the audience, with the house lights on, to sing a few choruses with fists in the air.

All in all a special show which seemed to generate as much enjoyment and satisfaction to those on stage as it did to the audience. A pleasure to witness an artist as influential and vital as Lucinda Williams still reaching such heights.

Review and photography by Declan Culliton

Patty Griffin@ The Olympia Theatre - Sunday 17th January 2016.

Starting with Move Up from the Downtown Church album, Patty announces her return to Dublin in fine style. Accompanied by a band that includes the amazing guitar talent of David Pulkingham, multi-instrumentalist Billy Harvey and Conrad Choucroun on drums, the musicians are of the highest calibre and the interplay and subtle touches that enrich the song arrangements are a joy to witness in this live setting.

There Isn’t One Way and Gunpowder are followed by Standing and Made of the Sun, written for her mother, as she hits the ground running at a striking pace. The sound quality is excellent and the mix separation meant that every instrument could be clearly heard. Sadly this had a detrimental effect on the vocals from Patty which came across as shrill and tinny in the overall band sound and not up to expected standards.

This was not such a big issue on the quieter numbers, when she sat at the piano to perform two standout songs from the new record, title track Servant of Love and You Never Asked Me, a song about relationships that cuts to the bone with its deeply poignant and personal perspective.

Mother of God, Ohio, 250,000 Miles and Everything’s Changed all follow and watching Billy Harvey and Conrad Choucroun change instruments is a sign of the talent on display here and the quiet ease with which they go about coaxing fine playing from bass guitar, mandolin, keyboards, drums and piano. David Pulkingham hovers like an eagle above the rhythm, soaring and swooping around the groove and pulling magic from the air with his guitar runs.

Shine a Different Way is dedicated to the Dixie Chicks and their reunion, which shows the enduring power of positive energy to overcome negative experiences. Truth #2 is played and there is also a dynamic performance of Irish Boy, written in memory of her father who emigrated from Ireland. She speaks of her short visit to these shores with a sense of frustration as she tells stories of her family and their Irish connections. A tour schedule can be hectic and leave the strongest of spirits feeling drained; however there is a great energy in the performance tonight as Patty drives the band with her impressive guitar and piano playing.

Seeing her perform is always a joy and the crowd tonight went home to the angelic sound of Patty singing All Creatures of Our God and King, a Gospel hymn taken from a poem written by St Francis of Assisi and delivered with the passion and grace that is the life-blood of her impressive catalogue of work.

Review by Paul McGee   Photograph by Vincent Lennon

Lindi Ortega @ The Grand Social - Friday 15th January 2016

This is the Canadian songstresses third visit to Dublin and her first in this venue. This time out she has a bassist and drummer in tow as well as long time live guitarist Champagne James Robertson. The latter is an important foil for Lindi as well as a mesmerising and highly underrated player. But it is the lady who is front and centre. She arrives onstage in a black fringed poncho, short black skirt and trademark red cowboy boots. As she has always done she gives a performance that is giving and total. She opened by saying that the mirrorball in the venue remind her of playing a prom and that she was dumped the night before her own prom night. A remark that sets the tone for her many songs of mismatched and rear-ended relationships.

Dying Of Another Broken Heart a song from her first album is one of the highlights tonight. Songs from her four albums pepper the set alongside some well chosen covers which include her version of the Bee Gees To Love Somebody  - a song she first heard by Nina Simone and one which had the audience singing along with her - something that brough a big smile to her face and a note of thanks afterwards. Sam Cooke’s Bring It On Home To Me gets a soulful reading and showed how versatile the band are and how easily they can shift gear while maintaining an overall feel behind Ortega’s voice. The no holds barred delivery occasionally goes slightly off pitch, something she notes herself but in the context of a passionate performance is not something that in any way effects the song effectiveness. A brooding and psychedelic Ring Of Fire closed the show. A song that summed up a fiery performance from the rhythm section (Ryan Gavel on bass and Noah Huntgate on drums), from Roberston’s Telecaster and from Ortega herself.

Other songs included Lived And Died Alone, Run Down Neighbourhood, I Ain’t The Girl, Ashes and High, a song she introduced as being an appropriate time to play an inappropriate song. Its subject matter was a substance not unknown to Willie Nelson she noted with a laugh. Through there was an amount of self-deprecating comments and moments of her own life shared with the audience who responded warmly to both singer and band. The title song of her most recent album Faded Gloryville was prefaced by some background to the idea behind the song. While watching Jeff Bridges in Crazy Heart and particularly the scene where he is playing in a bowling alley but has to leave the stage to “toss his cookies” outside gave her a moment to consider if this was to be her future and inspiration for the song. 

As well as singing (and dancing) Ortega also strapped on her Gibson several times and proved to be an adept rhythm player. She is not to be underestimated either as a songwriter with many of her songs serving as insightful glimpses into her own life and of those around her. There are a number of classic “country” style themes throughout her writing that may be overlooked in the sheer assault of the live performance. Her music may be hard to categorise in the strictest sense but the end result is some potent roots music that was much appreciated and warmed the hearts of many on this cold Dublin evening.

Review by Stephen Rapid   Photography by Ronnie Norton

Sturgill Simpson @The Button Factory Wednesday 13 January 2016

The rising popularity of this singer/songwriter, acclaimed in some quarters as a saviour of country music, was reflected by the ever growing audience he has attracted with each appearance in Dublin. However it was something of a odd live experience in that Simpson, who was in fine voice and humour, seemed at something of a loss due to the fact that he was unable to play any new material from his forthcoming major label debut. This was because. he explained, that such material would then be up on the internet before it got a chance to be heard in its original recorded form.

The set tonight largely consisted of songs from his two album with (naturally) Turtles All The Way Down getting the best recognition and response of the night. He also told the attentive audience that he had hoped to bring his band with him but after almost two years on the road they want to stay warm at home. But next time he’d be bringing an even bigger band with him. Something that may be appropriate when the new album is finally released. A 22 song set was played but no encore - a fact that seemed to annoy some of those present. 

The constant touring has definitely given his voice an edge and his guitar playing was dexterous enough to give the songs their depth. Considering it was only his voice and guitar that was there to hold sway. Ireland along with Scotland and parts of England where his favourite places to play he quipped, adding that in the US, no matter the size of venue or ticket price, the audience generally talked all through a show rather than really listening. Something he appreciated when playing here. He spent some time getting his errant guitar in tune which gave the audience time to deliver some requests and comments. Playing a requested Hank Sr. or Rory Gallagher song were passed over but he did perform his version of Roy Orbison’s Crying; his voice adding a different but equally heartbreaking tone to the lyrics. Other covers included Lefty Frizzell’s I Never Go Round Mirrors as well as Carter Stanley’s Old Love Letters and the traditional Handsome Molly. A song he felt came from “these parts” adding that bluegrass music had be pretty much stolen wholesale from these isles.

Another cover, one he has recorded, was his version of I’d Have To Be Crazy by Steve Fromholz. He quipped that the late songwriter had lived long enough to give a negative comment on his version. One of the best things about achieving a level of success, he noted, was getting to meet some of his heroes. People that had inspired him and who he had been introduced to by his grandfather. At this point he briefly left the stage as he said he wanted to share something with the audience and returned with his mobile phone. He first took some shots of the crowd before playing us a message that he’d had recently received from Merle Haggard. He then said that he’d been trying to get Merle to come to Europe with him to play. A notion that got a big round of applause. 

Other asides included his decision to stay away from social media  as “life is complex enough”. Telling us that if  he was going to spent time writing the best use of his time would be writing a song. Having played in Belfast the night before he said he had been listening to Astral Weeks in his hotel room. “I don’t know were Ladbroke Grove is but I don’t want to go there” he joked. It was that kind of an evening loose, relaxed but lacking in a sense of an overall structure.  Sturgill Simpson is without doubt an engaging performer, a fine singer, songwriter and guitarist but without a band to riff off or an new material to play he seemed to be there because he had to be and was doing the best he could with these set of circumstances. It was good to see him again and he seemed to be enjoying it, as were those present but hopefully he will be back on these shores again before too long - with both new music and/or band in tow.

Review by Stephen Rapid   Photography by Ronnie Norton

The Grahams @ Seamus Ennis Centre, The Naul - Sat. 21st Nov 2015

The Grahams (Alyssa and Douglas) will have made many friends on their UK and Irish tour which ended at this welcoming, intimate venue. They first introduced their short documentary film, Rattle the Hocks, which captures part of their recent exploration of the people, places and music connected by the American rail system. It features many of the songs from their two albums recorded in hallowed places like Sun Studios or on their own, as well as with a selection of fellow artists such as Alvin Youngblood Hart, the Norman Sisters, Mark Rubin and, from the North Mississippi Allstars, Luther and Cody Dickinson. The latter also directed the intriguing short film which was well received and a novel way to start a show.

There was a short question and answer session following the film that revealed details like which guitar Alyssa had played in one scene and the breed of their dog (labradoodle). After a short break they took to the stage with percussionist extraordinaire Mike Meadows to deliver an entertaining and engaging 17 song set. The majority of the songs were originals including the title track from their latest, Glory Bound, which was played towards the end of the set, without amplification, standing amongst the audience. Other songs included Kansas City, Griggstown, If You’re in New York, Mama, Biscuits, A Good Man, Marnie Hawkins, Cathedral Pines, Carrying the Torch and Wild One. For the song Revival Time, they got the whole audience involved in singing along on the chorus.

Alyssa has a strong voice and takes lead vocal with Douglas adding effective harmony and duet vocals. Both are also adept guitarists, with Alyssa on a solid rhythm and Douglas playing Dobro and acoustic throughout the show. Momentum and percussive interest was provided by percussionist Mike, who kept things swinging along with touches of tambourine and shaker as well as his custom made bass drum adding depth that brought an extra dimension to the sound. Meadows had joined the Grahams for this particular tour, but he is a freelance player with a long list of clients, frequently playing with Hayes Carll. 

The Grahams told stories about the songs and their origins, and the playful banter between the two added to the overall ambiance of the evening and informed the context of the show. Marnie Hawkins was inspired by a house they grew up next to. It transpired that they had grown up together before playing music and becoming romantically involved and this deep connection shows in the music. 

The majority of the songs are originals, written with their friend Bryan McCann. They said that although the both had played in cover bands, a song had to be special to be included in their set. Alejandro Escovedo's Broken Bottle was one such a song. Indeed Escovedo's song suited them well and makes one wonder why more of his fine songs don't get covered more often. 

However it is the Graham’s songs and personalities which took centre stage. They closed the show with a love song and announced that the next day was their 18th wedding anniversary, to be spent for the most part on an airplane flying home. The Grahams are a partnership that has, so far, produced two albums; but the signs are that their  music should find them gaining more acclaim with their future tours and releases.

Review by Stephen Rapid. Photography by Ronnie Norton.

The Waterboys @ Vicar Street, Dublin - 5th Nov 2015

Like or dislike him you certainly cannot ignore Mike Scott. From ground-breaking albums and spellbinding tours to less distinguished recordings and misguided line ups, The Waterboys, under various guises, have managed to survive for over 30 years.

Scott’s song writing has, without doubt, hit a purple patch in recent years culminating in the excellent An Appointment with Mr. Yeats in 2011 and the equally engaging Modern Blues recorded in Nashville earlier this year. For the subsequent tour Scott has managed to employ some of the strongest session musicians in the industry, all who were involved in the recording of the album. More to the point musicians compliment Scott himself and "the fellow that fiddles" (Steve Wickham) has resulted in what must be the strongest Waterboy’s touring band yet.

The current line up has legendary Muscle Shoals session player David Hood, at the tender age of 72, on bass guitar. Memphis Tennessee keyboard player extraordinaire Brother Paul, Austin resident and member of Black Joe Lewis and The Honeybears Zach Ernst on lead guitar and Professor of Music at the Royal Academy of Music, Ralph Salmins on drums.

The Vicar Street show could very well be described as a homecoming welcome for Steve Wickham. Taking the stage sans Wickham the band launch into Destinies Entwined, the powerful opening track from Modern Blues. Midway through the song and to rapturous applause, Wickham dances on to the stage and launches into an electric fiddle solo together with his customary twirls. At this early stage you get the feeling it’s going to be a very special evening.

Still a Freak and A Girl Called Johnny follow in quick succession together with a glorious rendition of We Will Not Be Lovers. Scott then dedicates Nearest Thing to Hip to the disappearing independent record stores and coffee shops and displays a photograph of a coffee shop off Harcourt Street that he used to frequent in the 80’s. "Best breakfast in Dublin, particularly when you staggered in at 2am"he professes.   

"That’s enough rock and roll, we’re going to slow things down a bit" Scott announces tongue in cheek before a blistering delivery of Medicine Bow from This is The Sea. The band members then exit stage leaving Scott and Wickham to perform an extended version of Don’t Bang the Drum.

What is particularly evident throughout the show is how well the newer material works live. Of course favourites such as The Whole of The Moon and Glastonbury Song are particularly well received. However, the highlight of the set is the final song Long Strange Golden Road, the ten minute closing track on Modern Blues. The musical exchanges between Wickham and Brother Paul are as breathtaking visually as they are musically all evening but excel here as the song merges into the Solomon Burke song Everybody Needs Somebody. The encores that follow are Fisherman’s Blues and a sublime delivery of Purple Rain.

Apparently Mike Scott decides at each show whether or not the audience deserve a second encore. Vicar Street on Thursday 5^th November was most definitely a second encore evening.

Review and photography by Declan Culliton

Krista Detor @ Ballymore Eustace & Whelan's, Dublin 12/13th October.

Two gigs in two nights and each very different in nature; yet both equally compelling. A regular visitor to Ireland, Krista Detor plays in the hope of reaching a wider audience and her sublime song-writing and musical prowess certainly merits greater attention.

Ballymore Eustace is a small town and the local pub Mick Murphy’s Bar is a challenging venue in which to fit three musicians, their equipment and an enthusiastic audience, some new to the music and some who jumped at the chance to see Krista Detor in such an intimate setting.

Dublin is different with the upstairs venue at Whelan’s bringing a quieter mood with less banter between artist and audience. What is evident however across the two shows is the ease with which Krista Detor communicates with and shares energy with those present.

Her new release, Barely, is partly the reason for this Irish tour and the new songs sound wonderful, with an immediate appeal in both melody and structure to stand alongside her existing body of work. They gently settle into the collective conscious with an ease that says ‘we have been here all along …'

The title song is a reflective tale of love in need of rescue and Can I Come Over, For All I Know, Castle in Wales and All the Calls are also songs from the new release that contain much to recommend them with interesting words and arrangements. The feel is one of stripped back colours, with plenty of room and space for the musicians to play in between the overall textures.

Belle of the Ball, Hear That, Red Velvet Box, Always Somewhere are included from a previous release, Flat Earth Diary. We are also treated to Recklessness and Rust, Deliver Me, Clock of the World, Middle of a Breakdown, Lay Him Down and Icarus from earlier albums.

Mudshow and Steal Me a Car are two older songs that are well received along with a great crowd pleaser. A Year Too Long a wickedly funny vignette about a relationship gone wrong, complete with various family guests.

David Weber plays acoustic and electric guitars to great atmospheric effect, coming in and out of the arrangements perfectly to reflect the mood created by Krista on either keyboard or accordion. Mike Lindaur plays fretless 5-string bass guitar in a laid back style that grounds the songs and provides the base for the melodies to weave their magic spell.

Krista Detor is a rare talent in an industry that is overcrowded with artistic wanabees. Her literary gifts are equally matched by her song craft and musicianship and she sings in a voice that can be sweetly seductive, yet capable of great power when she opens out her full range.

Both gigs were celebrated with lengthy applause and the special feeling that perhaps we are seeing his artist at a time before her creative muse explodes upon bigger stages.

Review by Paul McGee    Photographs: (Top) Paul McGee (Bottom) Vincent Lennon

Eric Taylor @ Live at the DC Club, Dublin - Friday 25th September 2015

Returning to Ireland for the first time in a few years, Eric Taylor plays to an audience of long time admirers at this intimate city centre venue. His finger playing style is somewhat compromised on the night with the loss of his favourite picks ,but he soon puts such setbacks behind him to deliver a show of understated skill and sensitive touch in a 'less is more' performance that has the hushed room hanging on his every move.

Sitting in a chair and thumbing through his song book while tuning his guitar, Taylor speaks of his past in extended and elaborate storytelling, punctuated by an occasional grin and laugh while he remembers a specific moment.

His interest in the lifestyle of vagabond troubadours who never really found a settled home, colour his songs and the characters that he captures in the lyrics he writes. He sings about the free spirits and characters of the independent highway, living a code that defers to no man. His tales of whiskey nights and mornings of regret are the stuff of novels and short stories from the parts of living that only brave or crazy men inhabit.

Texas, Texas tells of adventures with Townes Van Zandt in a storm and of riding borrowed horses. The song, Strong Enough for Two references the fragile journey from Mexico City to Houston Medical Centre of a little boy and his family, hoping for a miracle cure and was the subject of a documentary in 1981.

Prison Movie is a song about a life spent behind bars and having to walk always in a line as an inmate. Cover These Bones (a Tim Grimm cover), Reno and Adios are taken from his latest release and visit such areas as Native Indian inequality, failed relationships and dangerous men who turn to a life of crime.

'Carny' is a slang term used in North America for a carnival employee, nomads on the highway of life and such is the restless spirit. He speaks of his early days in the Circus with a fondness and a longing, remembering them as the happiest of days. The song Carnival Jim & Jean captures the bond of such relationships, if not the almost claustrophobic nature of spending too much time together.

Louis Armstrong's Broken Heart tells of the great man at the twilight of his career and the sadness of seeing him used as some dressed up prize. Dean Moriarty is a look at the Beat Generation, inspired by Kerouac in aspiration and hippie ideals, heading out West in search of some illusory American Dream. A cover of Where I Lead Me by Townes Van Zandt is particularly moving and the nameless faces who toil for the simple basics of life are shown compassion and understanding in these vignettes as penned by Eric Taylor.

A Texan storyteller with a fine body of work to his name, Eric Taylor is a very accomplished guitar player and song writer and this was an absorbing night of music and tales that are long removed from the daily experience of Dublin inhabitants on a night of reflection and wistful memory.

Review by Paul McGee. Photograph by Vincent Lennon.

Tom Russell @ Live at Whelan’s, Dublin - September 27th 2015.

Tom Russell says that there are only two real scenarios when it comes to storytelling; either a man goes on a journey or a stranger comes into town. This may well be true and it strikes me that Tom Russell is both of these characters – a troubadour of the roads and an artist who visits various locations for a brief stay, before slipping away to the next stop on his personal journey.

Two years since his last appearance at Whelan’s this irrepressible talent returns with a powerful performance that includes all his usual banter, bluster, humour and insight.

Joined by the very impressive Max Di Bernardi on guitar, Tom Russell delivers two sets of stirring and reflective songs that has the capacity crowd smiling broadly and applauding vigorously.

Ever the showman, Russell is like a circus ringmaster as he announces songs with preambles full of interesting asides and stories. The first set is entirely taken from his latest release, the epic Rose of Roscrae, a western folk opera that spans some 25 songs and clocks in at 2 hours of listening time. It is certainly an epic work and he takes us through a whistle-stop tour of the main events in the 8 songs chosen to give a flavour of the tale.

Thought provoking and full of fascinating storylines, the content of Hair Trigger Heart, Johnny Behind the Deuce, Guadalupe, Tonight We Ride, Jesus Met the Woman at the Wel, I Talk to God, He Wasn’t a Bad Kid When He Was Sober and the title song, are all received like old favourites and the pace of the performance is full throttle as Russell and Di Bernardi deliver a stirring guitar tour de force, full of fluid playing, driving rhythm and some dynamic solo work from Di Bernardi.

Putting in a strong second set is key to the overall mood on the night as Tom visits his back catalogue with favourites such as St Olav’s Gate, Blue Wing, Stealing Electricity, Navajo Rug, Who Will Build Your Wall, When Irish Girls Grow Up, East of Woodstock, West of Vietnam - all taking a turn to raise the atmosphere created among those present to witness this talent at play.

A version of Raglan Road is particularly moving and the beautiful Finding You, dedicated to Tom’s wife, is sung with a real tenderness and vulnerability. There are songs dedicated to family members, some of whom are present, to Donald Trump in all his crazy actions and to the ensemble of musical talent who have given their time and energy to the new project, The Rose of Roscrae.

Tom is a fine guitar player and his easy onstage manner adds hugely to a most enjoyable experience. Regaling the crowd with shouts of ‘Ye Bastards’ between songs brings much laughter and response from the audience and Tom handles everything with great aplomb and a smile that shows he is always in control.

A walk on the wild side, a trip down colourful streets, an artful glance at life in all its vicissitudes and a nodding wink at the randomness of it all.

Welcome to the magical world of Tom Russell; song-writer, painter-artist, novelist-writer and a performer who has left an enduring mark upon this Earth.

Review and photograph by Paul McGee

Americana Music Festival, Nashville - 15th to 20th September 2015

Tuesday 15^th September. An announcement at United States Immigration at Dublin Airport that their server has crashed is not the ideal start of the adventure, particularly when you are flying to Chicago with a sixty minute turnaround for a flight to Nashville. 

After an hours delay the systems are up and running again and we are boarded for the flight to Chicago. Relief all around when the pilot announces that flying conditions are ideal and he expects to land as scheduled which he duly does. An hour later and we are aboard for the short flight to Nashville from Chicago as scheduled. 

I and my, annually increasing entourage, discovered The 3 Crow Bar in East Nashville at last year’s festival and subsequently arranged accommodation close by for this year’s festival. The neighbourhood bar in the fashionable Five Points area became a meeting place for food and beers and night caps. East Nashville has been rejuvenated from what was a quite seedy area ten years ago to a very upmarket and hipster area in recent years. It’s fair to say that most of our group are more hip replacement than hipster material but the laid back and bohemian scene is more appealing than the commercialised and touristy accommodation available downtown.

Tuesday night for your Lonesome Highway scribe kicks off the festival with a visit to Basement East in East Nashville, a mere ten minute stroll from the 3 Crow Bar. The evening’s event is titled Sin City v Guitar Town and features The Bottle Rockets, Jesse Dayton, Jonathan Tyler, Keith Gettis and Aaron Lee Tasjan & Friends.

Aaron Lee Tasjan's friends include Lilly Hiatt guesting on vocals and acoustic guitar, Megan Palmer on fiddle and backing vocals, Kevin Gordon on rhythm and lead guitar and Nikki Lane on vocal. The set develops into a wonderful jam session with nine musicians on stage. The Bottle Rockets end the evening with a stirring set of heads down rock 'n' roll and include favourites $1000 Car and Trailer Mama in their set as well as material from their latest album due for release later this year. A rocking’ start to the festival and great to reunite with friends we met in previous years including WHFB Indiana Radio DJ Angela Backstrom, her husband Al and friend Ann Marie. 

Despite the late night and loss of six hours crossing the Atlantic it’s an early 7am rise on Wednesday morning and a stroll around East Nashville in the beautiful early morning sunshine.

To satisfy the insatiable appetite for CD’s and vinyl collection among our group a drive out to some of Nashville vintage music megastores follows. The Great Escape at 5400 Charlotte Avenue, specialising in second hand CD’s, vinyl, magazines and books, is the first port of call. With thousands of albums price at $0.99 the weight restrictions on American Airlines are most certainly going to be difficult to observe. 

Not content with considerable purchases at Great Escape our next destination is McKays Nashville at 636 Old Hickory Boulevard for more rooting. McKays is even larger than The Great Escape, think of your largest Tesco store and you’ll get a feel of the proportions involved. 

Preparing your schedule in advance of the festival is essential as the choice of acts is mind blowing. Having said that, regardless of how meticulously you prepare you'll always encounter a curved ball when you hear of an additional gig being thrown into the mix at the last moment or a performance at a local bar not necessarily part of the festival.

It's intended to make Cold & Bitter Tears late afternoon show on Wednesday at The Tin Roof to catch Mary Gauthier and James Mc Murtry perform songs from the soon to be released Ted Hawkins tribute album. Disappointingly the non-availability of taxis and the prospect of a ninety minute walk in 30 degree heat from East Nashville results in the venture being abandoned.  With a few hours to kill before the evening gigs it’s decided to check out small craft brewing house The Jackalope Brewing Company on 8^th Avenue. The disappointment of missing the earlier show soon dissipates after a few pints of Leghorn Rye Indian Pale Ale. 

Wednesday evening’s choice of venue is The City Winery for performances by The Contenders, James Mc Murtry and Patty Griffen. The City Winery opened its doors last September and is the most upmarket of the venues used during the festival. It's best described as a music restaurant with table seating only and waiter service unlike the majority of the other venues which are standing only or limited seating. Despite the lack of atmosphere and somewhat sterile environment both McMurtry and Griffen's sets are top quality. McMurtry, not renowned for on stage banter, excels with a solid set taken from Complicated Games, released earlier this year. Copper Canteen, You Got Me and Carlisle’s Haul stand out in particular. 

Patty Griffen playing acoustic guitar and piano is accompanied by David Pulkingham, universally considered to be one of the best guitarist in the industry. Her set concentrates on material from her recent album Servant of Life, offering a mixture of gospel, blues and country all beautifully delivered with her unique vocal. New material is delightful and justifies the positive reviews the album has been earning.

Thursday evenings schedule brings us to Cannery Row, about a ten minute walk from downtown Broadway. With three venues under one roof, Cannery Row, The Mercy Lounge and The High Watt and fifteen acts on offer we start the evening with The Stray Birds at The Mercy Lounge. Recent visitors to Ireland, they are a three piece from Lancaster, Pennsylvania who feature superb harmonies and playing, very much styled on a Gillian Welch /Dave Rawlings theme. They entertain with some cover versions, new material and a rousing finale of the title track of their recent album The Best Medicine. Local residents and Caitlin Rose’s backing band Los Colognes follow and transport us back to the days of the Allman Brothers with their high charged and hugely enjoyable set.  

Next up at the same venue is the delightful Lera Lynn and her band. Lera has recorded two quality albums in recent years and was commissioned by T Bone Burnett earlier this year to compose and record material for this season’s True Detective series. She also performed on the Letterman Show this year exposing her talent to a wide audience. Having seen her perform at the festival in previous years to small crowds it’s refreshing to see a full house for an artist who records such quality material and tours continuously. Her set includes My Least Favourite Life from The True Detective series and a number of songs from an album she is currently working on together with Out to Sea and Coming Down from her last album The Avenues. Lera also tells us that she intends finally to make it across the pond in January to the U.K. and hopefully also a show in Dublin. One to watch out for.

Next door in The High Watt we are treated to slide guitars, exquisite harmonies and fifty minutes of mid 70’s southern rock from Winnipeg’s finest The Bros. Landreth before the dash back downstairs to catch the second half of Honeyhoney’s set.  

Friday afternoon finds us in Broadway at the Acme Feed and Seed bar to catch a few acts not originally featured in the festival programme. Luther Dickinson, later in the evening to feature in Jim Lauderdale’s band, plays a stormer of a set with the tightest band imaginable which features local legend and session player Fats Kaplin on fiddle. Dickinson is the son of Memphis pianist and producer Jim Dickinson and a member of The North Mississippi All-stars and his blues guitar style is as good as it gets. Unfortunately due to time restraints it’s only possible to catch the opening numbers from Lilly Hiatt and her band before heading down to 3^rd and Lindsley to nail a position up front for what has been my most eagerly anticipated evening of music at the festival. The collective line ups every night at the various venues are mouth-watering but the Friday night offering at the 3rd and Lindsley is, for me, unparalleled. Commencing with Sam Outlaw (interviewed in Lonesome Highway in August) followed by Lee Ann Womack, Whitey Morgan, Jim Lauderdale and Uncle Lucius.

The quality line up understandably attracts a full house. Sam Outlaw is an artist in the ascendancy which is understandable after witnessing his slick forty minute set. The Los Angeles resident is backed by superb Nashville sessions players and performs material from his latest album Angeleno, produced by Ry Cooder. His is coolness personified, looks the part and says all the right things. It’s heartache and love gone wrong all the way and a throwback to 60’s traditional country. The stand out songs from the album Who Do You Think You Are? and the title track sound even better live and there is no doubt that Sam Outlaw has the talent to follow a similar path to Sturgill Simpson in respect of commercial success and recognition in the coming years.

More used to performing to audiences multiples larger than this evening Lee Ann Womack's set is absolutely stunning. Justifiably renowned in the industry for her warmth and personality not withstanding one the best female country vocalists, her sixty minute set includes a broad range of material from her career. She kicks off with Never Again, Again from her debut album but it’s the material from her Grammy nominated 2014 album The Way That I'm Living that is particularly impressive. The stripped back songs on the album allow her angelic vocal to dominate and her delivery of Send it on Down and the title song are to die for. A highlight of the festival for me without doubt. Whitey Morgan and the 78’s that follow are hard hitting Texan hard-core country. Beards, long hair, denim, tattoos, cowboy hats and volume dominate the stage and we are served up songs of trains and cocaine. A hard hitting, powerful, dust kicking set that is a complete contrast to the previous artists but none the less enjoyable. 

The Jim Lauderdale slot that followed is also an unexpected diversion. Jim takes the stage immaculately dressed in blue pin striped suit and floral red shirt to announce that he's going to do things a little different this year. His entire set is based on his forthcoming double album of Memphis blues entitled Soul Searching and his band also features a horn section. Luther Dickinson, seen earlier in the day at Acme Feed and Seed, excels on guitar. As expected the quality of all the playing is top drawer but equally impressive is how well suited Lauderdale's vocal is adapted to this latest venture. The material is also so impressive and reinforces exactly how talented and versatile the man is. As usual Jim comes out to the audience after his set for handshakes, hugs, photos and chats.

The venue thins out to very small numbers by the time Uncle Lucius hit the stage for the 12am slot with many punters heading to The Mercy Lounge to catch the American Aquarium gig. We decide to stay put and despite the small numbers in attendance we are treated to a glorious full on bluesy set by the band. A fitting finale to five hours entertainment of the highest quality.

Saturday morning finds the author been driven to West Nashville to be measured for a bespoke western shirt. The shirt in question is a Christmas present from the family and is being designed and tailored by Janet Aspley of Dandy & Rose. Janet, who lives and operates Dandy & Rose from Lewes, Sussex, is in Nashville both for the AMA’s and to continue her studies in the fashion industry. She has designed and tailored shirts for Jim Lauderdale, Rod Picot, Danny Wilson of Danny and The Champions and numerous private clients and is such a wonderful designer, seamstress and an example of someone who adores what she does. It was a pleasure to finally get to meet Janet and where better to get measured for the shirt than Nashville.

The trip out to Oakhill, where Janet is staying, is not uneventful, to say the least. A stubborn sat nav directs us to the most luxurious and upmarket estate imaginable with detached mansions situated on acres of manicured lawns and exquisite landscaping. We spend twenty minutes driving around the estate trying to locate No.844 and finally in desperation head out to the main road again to regroup. Eventually we are redirected to an adjacent estate and locate the correct house which is located a few fields away from where the sat nav had previously brought us. It transpires that Martina Mc Bride and other celebrities reside in the upmarket estate.

Saturday afternoon’s choice is the Bootleg BBQ-UK Underground at The Groove record store in East Nashville. Each year the UK is represented at the event together with some American acts. This year’s UK acts are Martin Harley, Lee and Leigh and The Dreaming Spires who are particularly well received. Free BBQ and beer are on offer sponsored by the organisers which is greatly appreciated. The beers on offer, it transpires, are 7.3 and 6.4 per cent alcohol content and understandably have the punters in good form in the glorious sunshine.  The afternoon also featured sets by Frankie Lee and another chance to enjoy outlaw Whitey Morgan and the 78’s who has also played the previous evening at the 3^rd and Lindsley. With multiple choices for the evening’s schedule we decide to stay local and head to the Basement East for Oh Pep!, Crooks, Sarah Potenza and JP Harris to round off what has been another cracking day’s entertainment.

Ok, so here's the deal. You're invited to a Sunday outdoor party which includes complimentary food and beer together with entertainment by a number of bands. You're also likely to be shoulder to shoulder with a number of renowned musicians and music industry folk. Can't be bad.

Such an invitation was extended by East Nashville resident and honky tonker JP Harris when he hosted his annual back yard party at The Fond Object record store in East Nashville on Sunday 20th September, the last day of the Americana Music Festival. The party is aptly titled Sunday Morning/Coming Down and is attended by festival punters, members of the local music community together with many artists who had performed at the festival. JP prepares and cooks endless portions of gumbo which he personally serves to all the guest. He also manages to introduce all the artists before performing a storming set with his crack band. Nikki Lane and Shelly Colvin join him on backing vocals for the second half of his show.

The afternoon also features sets by Luke Bell, sounding like a young Wayne Hancock, instrumental duo Steelism, Shelly Colvin, showcasing her about to be released album and finally JP and his band The Tough Choices. A rousing version of Sunday Morning Coming Down with vocals by JP and guest Nikki Lane appropriately closes the afternoon’s party in style.

It is so pleasing to see so many musicians including Robyn Hitchcock, Anne Mc Cue, Parker Millsap and many others listening to the acts and mingling with the crowd. A great reminder of how the music community in East Nashville operates and how supportive they are of one another.

After such a stunning afternoon in the brilliant sunshine enjoying the music, company, bands, beers and gumbo it's time to head downtown to the 3rd and Lindsley for the final show of the festival which features Jay Farrar performing the songs from Son Volt’s Trace, recorded twenty years ago. The support act is Parker Millsap and the show is being recorded live on Lightning 100 Nashville Radio. Farrar’s band consists of Eric Heywood, who played on the original album, on pedal steel with multi-instrumentalist Gary Hunt completing the three man band. To witness this performance in such a small venue is memorable, particularly stripped down versions of Drown, Windfall (featuring two pedal steel players) and Too Early.

A fitting end to six days of wall to wall music including daytime events, outdoor parties, barbecues and evening showcases.

The cost of a wristband to attend all the showcase gigs and parties at the festival is the princely sum of $50. Punters who wish to attend the Americana Awards Show at The Ryman need to join the association which costs in the region of $350 but includes entry to conferences and various industry related events throughout the week.

Looking forward to next year already.

Overview diary and photographs by Declan Culliton

Joel Plaskett @ Whelan’s, Dublin - 22nd September 2015

It has been a few years since this contemporary Canadian folk artist from Nova Scotia has played in Ireland and this short tour is in support of his recent release, The Park Avenue Sobriety Test.

The show is well attended, with plenty of expatriate support from the Canadian contingent on the night and it is a timely reminder of the great talent that we have been deprived of on a more regular basis.

Something of a national treasure in homeland, Joel Plaskett has been releasing quality music since his solo debut in the late 1990’s. Whether as part of the more rock orientated Joel Plaskett Emergency or as a solo performer, he has maintained a consistently high standard of song writing with a keen turn of phrase and an observational style that has highlighted his craft and increasing maturity.

Tonight he concentrates on the new release with excellent acoustic versions of The Last Phone Booth, On a Dime, Song for Jersey, Broke and Captains of Industry instantly finding favour and adding to the list of his impressive body of work. A fine guitar player, Joel also presents a very strong stage presence with his easy manner and amusing comments and stories which lend added weight to many of the performances.

A great version of Hard Times, the famous Stephen Foster song, is particularly poignant in its humanity and timely message. We are also treated to On the Rail, a song he was commissioned to write about the Cabot Trail in Cape Breton. Nina & Albert is a fictitious love story and I Love This Town is always a fun song to hear live.  

A request for old favourite True Patriot Love is granted and the title song of the new release is a real gem. Finishing the encore with Rollin’ Rollin’ Rollin’ is an upbeat way to say goodnight to the enthusiastic crowd, who loved every minute of this intimate performance.

Support on the night was from young Canadian artist Mo Kenney who has been gaining critical acclaim for her talents and who joined Joel for part of his show on guitar and harmony vocals.

Hopefully Joel Plaskett will return in the near future and share his fine musical and song writing talents with us – an artist with much to offer and recommend to any discerning music fan.

Review and photograph by Paul McGee

Great Lake Swimmers @ The Button Factory -15th September 2015

This excellent Canadian Folk band are touring Europe at present and quietly slipped into Dublin with little media fanfare to play new tunes from their sixth official release.

They were here a few years back (2009) when they played to an enthusiastic audience and this time around the crowd is much smaller but no less welcoming as the band work through the set list on the night.

The creative source of Great Lake Swimmers is singer/songwriter Tony Dekker who arranges most of the songs and plays acoustic guitar onstage. He possesses an angelic voice, so clear and pure in delivery, which adds a very spiritual quality to the overall sound of the band.

The greater part of the gig concentrates on the new release, A Forest of Arms, which builds on the previous success of the band's critically acclaimed catalogue. We also hear songs from previous albums including the eponymous 2003 debut, together with Ongiara, New Wild Everywhere and Lost Channels.

Dekker's solo project, Prayer of the Woods, is also included with the song Somewhere Near Thunder Bay and the evening passes in a quiet sense of floating melody punctuated occasionally by the dynamic fiddle playing of Miranda Mulholland, an accomplished musician who also contributes greatly on harmony vocals.

The environment features heavily as a key influence in the writing of Dekker and he is passionate about conservation and protection of the natural world. Also key to the reflective sound is the communication between people and how we relate to each other as fellow travellers on the planet.

Song titles such as Your Rocky Spine, Put There By The Land, Great Bear, The Great Exhale, Zero in the City, A Bird Flew Inside The House and Something Like a Storm give a sense of impact between the pulse of nature and our lives in cities that have such disconnect with others, as well as the forces that govern our daily existence.

The rhythm section (Joshua Van Tassel on drums and Bret Higgins on upright bass) anchor the songs with a solid foundation from which to expand while the guitar and banjo playing of Erik Arnesen adds plenty of subtle colour to the melodies. However, it is the understated presence of Dekker and that refined vocal together with the excellent contributions of Miranda Mulholland that give Great Lake Swimmers their gentle yet strong sound.

A very pleasant surprise on the night was the support act of Meg Baird and her eight song set which drew mainly from her third solo release Don't Weigh Down the Light. Since her days with the Espers, Meg has blossomed into a career that has seen collaborations with other artists and a new musical project called Heron Oblivion. Her beautiful voice and sensitive guitar playing are a perfect example of the power in understated delivery.

She has an ethereal quality to her vocal that reminds me of Clannad's Moyà Brennan, both haunting and plaintive. Her set was hypnotic and inspiring with great guitar accompaniment from Charlie Saufley who added an electric layer to the soft finger picking style of Meg Baird. A cover version of the Crazy Horse song I Don't Want to Talk About It  was particularly arresting and knocks any other version to the kerb. A fine performance and all too short!

Review and photograph by Paul McGee

Patty Griffin @ Whelan's - 8th September 2015.

This gig is part of a short European tour for Patty Griffin, just before she embarks on a more comprehensive American tour to promote her new album, Servant of Love. Playing almost the entire new record is something that not a lot of artists would be brave enough to contemplate but Patty Griffin is not someone to allow others control of her creative muse.

The beauty of tonight is that the enthralled audience listen in rapt silence and reverence to each of the new offerings as if they were already old favourites. Indeed they sound very much like songs we have heard before, if only in the ether and the magic dust that surrounds all great song writing.

Never one to stand still and be placed in a specific genre Patty Griffin continues to evolve as a person and a songwriter of incredible depth and maturity. The new record is quite stunning especially when we are treated to the stripped down versions of the songs in such an intimate surrounding.

You could hear a pin drop as the new tunes find a way into the hearts and minds of the capacity crowd and whether playing guitar or piano, Patty sounded in top form with that wonderful voice reaching out and filling every part of the venue with its soulful power.

Accompanied on the night by David Pulkingham on guitars, the interplay between the two musicians was quite breath taking at times as they weave patterns around the rhythm created. Both musicians are very accomplished players and tuning issues apart, which Patty put down to jet-lagged guitars, the subtle touches and teasing colours they paint are a joy to experience.

Of the new release, Patty speaks about love - in all its guises and varied forms. There is a Mexican revolutionary song to open the show (a tilt at the American Government stance on immigration recently?) which warms up the room for what is to follow.

There Isn't One Way and Gunpowder follow in an electric groove with the guitars slightly too loud for the vocals to be clearly heard, but after this powerful beginning things settle into a more acoustic feel with Servant of Love played at the piano. It is a melancholic song which displays a quite stunning vocal as Patty wrings every ounce of passion and yearning from her soulful delivery.

Made of the Sun, Hurt a Little While, Everything's Changed follow a theme of reflection and love lost whereas the anger and frustration of Good and Gone, written in the wake of another police shooting of a black youth in America, is delivered in a potent message against inequality and injustice. 

250,000 Miles is a lament from a mother to her child who is in servitude and far away from home. You Never Asked Me is a stand out performance at the piano as Patty sings of the loneliness of lost relationships and how we "glide along all the bends of time, falling for little tricks of the mind"..,

An older song, Strange Man, is played and there are a couple of Gospel songs, Waiting for my Child and Precious Lord, both of which are a real treat and point to a new road down which Patty could easily walk. Whatever direction she may take, the magical quality to her voice continues to stoke her creative fire.

The encore arrives all too soon with Patty playing Heavenly Day and Top of the World, two old favourites that leave the crowd calling for more and thankful to have shared some special moments with such a unique traveller who continues on her seekers journey.

Review by Paul McGee.  Photograph by Vincent Lennon

Richard Thompson @ Vicar Street - 1st September 2015

A regular visitor to these shores over the years, it was a great thrill to welcome back Richard Thompson and his electric band, two superb players in Davey Faragher on bass and Michael Jerome on drums. He graced the stage at Vicar Street with all his usual stiff upper lip British charm, interwoven with a fiendish wit and glint in the eye. His dry sense of humour and self-effacing comments are always a joy to his followers and he does not disappoint with the between-song banter. The mood is very relaxed from the start and Richard’s daughter Kami and husband, James Walbourne, of support band the Rails, join him for the opening number which gets the enthusiastic audience right in the mood.

What follows is 90 minutes of jaw dropping performance and to witness a musician at the very pinnacle of his craft is a real treat. This band is so tight that it would be impossible to separate any of the individual parts from the whole and yet it is always the wonderful guitar work of Richard that soars above the rhythm and swoops in and out of the song arrangements. We are given a number of tracks from the latest release, Still, which is a very strong collection and selling as well as any of the extensive back catalogue. Broken Doll, Beatnik Walking, Patty Don’t You Put Me Down, Josephine, are all played. A very short acoustic set breaks from the full-on electric attack of the band with 1952 Vincent Black Lightning always a highlight. The dextrous guitar taking us on a road trip that has become immortal. We also got Wall of Death, Did She Jump or Was She Pushed, Tear Stained Letter, Johnny’s Far Away from previous releases.

Guitar Heroes is a standout new song on this night of dynamic performances with its nod to the great guitar players of yesteryear and Richard effortlessly mirrors the playing technique of Django Reinhardt, James Burton, Les Paul, Chuck Berry and Hank Marvin among others.  Al Bowlly’s in Heaven is another song that strikes home especially in these times of homelessness and lack of care for our fellow man across many World issues.

Everybody has a favourite pick of songs that didn’t get an airing but the numbers that were played acted as classy alternatives to any private wish list. One of those special evenings and certainly Richard Thompson is playing and singing as well as he ever has. Who said your sixties are the new forties? Whatever you are doing Richard to sound so alive, the good news is that it’s working. Perhaps it is simply the pleasure of doing what you love. 

Review by Paul McGee. Photograph by Vincent Lennon

Ryley Walker @ Whelans, Dublin -18th August 2015

Ryley Walker is a young man in a hurry, no question. Barely six months after the release of his second album Primrose Green, hailed by many critics as one of the finest of the year to date, the 25 year old from Chicago has publicly dismissed the album, declaring that he hates it and is already working on material for his next offering which better reflects where he is musically positioned at present.

His previous appearance at Whelans less than nine months ago attracted only a handful of punters so it is testament to his recent exposure that the same venue is packed on probably the most humid night of the summer.

Bearing in mind Walker’s reputation for spontaneity it is not surprising that the evenings show is somewhat unstructured. Punters expecting the customary twenty minute support act, twenty minute wait and seventy minute main act with two encores were always going to be disappointed.

Instead what is on offer is two support acts by artists that Walker declared to be some of his best friends.  Following on is  a set with Walker and  a pick up band comprising bass, drums and guitar and completing the evening is Walker’s solo slot. Both support acts, Brigid Power-Rice and the Cian Nugent Band are well received before Walker takes the stage shortly after 10pm.

Despite his stated reluctance to playing any material from Primrose Green his opener is a twelve minute free flowing version of the title track, transforming the four minute album version into a mesmerising jam, accompanied by bass, drums and Cian Nugent on guitar.

"Jeez, this is my favourite place and people on earth, had my first plunge in the Irish Sea this morning at The Vico with a bunch of naked old men" he comments before launching into an equally experimental and extended take on On The Banks Of The Old Kishwaukee also from the Primrose Green album, without in any way detracting from the beauty of the song.

The band then leave the stage and Walker reminds the crowd that this is in fact a solo show and proceeds to play, superbly it has to be said, a succession of songs he intends recording on his third album to be released in March of next year. 

The venue is more suitable for less crowded and more intimate gigs. The size of the attendance, inability for punters at the back of the venue to see the stage and the late start, inevitably results in the alcohol fuelled minority having a preference for loud chatter rather than listening to the act. After a few vocal exchanges among the crowd the offenders eventually get the message and retire to the bar to allow the rest of us hear and enjoy the solo section of the gig.

The material for the forthcoming album is particularly impressive with the guitar playing and vocal by Walker stunning. The first song is credited by him as his Fuck Donald Trump song and certainly the newer material contains more aggression and anger than that of the reflective nature of much of his early work.

Mellower material follows including a beautiful cover of Tim Hardin’s If I Were a Carpenter and an untitled but equally well received instrumental. Walker finishes with another untitled song from the forthcoming album completing the short sixty minute set by simply saying "that’s all I’ve got folks" and ending without an encore.

Walker’s impatience and intensity on stage is that of a restless artist to whom the next challenge cannot come quick enough. A slight delay while retuning leads to an angry mutter of "this guitar’s a heap of shit" while attempting to correct the issue. In direct contrast his off stage manner before and after the gig could not be more charming and friendly as he mingles with friends and punters

Comparisons in the media to John Martyn, John Fahey, Nick Drake, Tim Buckley and even a young Van Morrison may, or may not, be premature at this early stage in Walker’s career. What is undeniable is his talent as a song writer, vocalist and guitar player, so evident in flashes this evening. Hopefully this potential will be fully realised going forward in whichever direction it evolves. If so, the sky is the limit for Kyley Walker.

Review and photograph by Declan Culliton

Rhiannon Giddens @ Whelans, Dublin - 30th July 2015

Rhiannon Giddens last appearance at Whelan’s was in October 2012 when she fronted old time African American and Grammy winning string band Carolina Chocolate Drops.She is back a gain in the wake of her T-Bone Burnett produced debut solo album Tomorrow Is My Turn. “Thirty seven years of age and T-Bone Burnett offers to produce a solo album for you, you don’t say no’’ she noted.

Her band is made of Caroline Chocolate Drop members Hubby Jenkins (guitar, mandolin, banjo and bones), Rowan Corbett (guitar, bones, snare drum) and Malcolm Parson (cello). Jason Sypher (bass) and James Dick (drums) complete the line up. Giddens’ classical vocal training is in evidence throughout the ninety minutes where she showcases her solo album combined with songs from both Carolina Chocolate Drop albums and the New Basement Tapes project.

Together with her backing band she delivers an exceptional night’s entertainment moving between old time country, gospel, jazz, folk and traditional music to a hugely enthusiastic audience. Opening with Spanish Mary from the Basement Tapes album Giddens announces, tongue in cheek, that she wrote the song with Bob Dylan fifty years ago. Setting the scene for the evening with her stunning vocal and relaxed stage presence she continues by explaining how the project was conceived and her initial awe in the presence of T-Bone Burnett and Elvis Costello. “Only one in the group with ovaries’’ she playfully adds.

Don’t Let It Trouble Your Mind follows with Giddens acknowledging the song writing talents of Dolly Parton “one of the best female songwriters of all time.” A superb version of She’s Got You, in tribute to Patsy Cline is next before upping the tempo with Shake Sugaree and Waterboy to the delight of the engaged audience. Giddens relaxed stage manner and ability to engage and captivate her audience are very evident throughout the show. She explains that she is married to an Irish man resulting in half the year being spent in Ireland and the other half in The States and that her eldest daughter is enrolled in the local gaelscoil in Limerick. “She and her father talk in Irish and I haven’t got an idea what they are saying. Don’t suppose many of you would understand them either.’’ 

One of the many highlights of the evening was a stunning a cappella of the traditional song Factory Girl.  Giddens notes that she has rearranged the lyrics on the last verse and will be including the song later in the year on an EP of material that did not make the final cut on her solo album.

She finishes her set with the barn dance, knees up Dylan penned Duncan and Jimmy to rapturous applause and demands for encores.Giddens returns to the stage accompanied only by Parson on cello and Sypher on bass and delivers a spine tingling rendition of Angel City, the closing track on her album. The second encore, with her full band returning to the stage, is the African American folk song The Lonesome Road immediately followed by Up Above My Head. A rousing finale to a superb evening’s entertainment.

Give the direction the exceptionally talented Rhiannon Giddens career is heading it is highly unlikely that her next gig in Dublin will be in a venue as intimate as Whelan’s. All the better for those of us fortunate to have been present.

Review and photography by Declan Culliton

Chuck Prophet @ Whelan’s Upstairs – 22nd July 2015

It just had to be one of those nights – a packed room, sweaty atmosphere, lots of noise and a live performance to restore your faith in the magic of the moment. The upstairs venue in Whelan’s is not to everybody’s taste but on a night like this it kicks into gear where the cramped space and lack of a decent view actually add to the vibe in the room.

Getting things warmed up is the local Dublin band, Kicking Bird, who play a confident set of energetic tunes, topped off with a strong vocal performance by Shannen Byrne.

Chuck Prophet takes to the stage with his partner in crime Stephanie Finch who has regularly performed with him over their many years in the music business. There are plenty of fans to sing along to the observant songs that take a slice out of life and toss it around in a way that gives you a seat on board this train we all ride.

There is a great chemistry onstage between the two artists as they harmonise beautifully on vocals and inspire each other as guitars and keyboard take the music through different gears, with superb interplay throughout. It is easy to forget just how accomplished a guitar player Chuck Prophet is and his solo riffs are greeted with regular applause.  

His latest release Night Surfer is given an airing with tracks Ford Econoline and Wish Me Luck, but it is prior release, Temple Beautiful that gets the greater exposure with Little Girl Little Boy, The Left Hand and the Right Hand, Museum of Broken Hearts, Willy Mays is Up at Bat and Play That Song Again given full treatment.

Doubter Out of Jesus from Soap & Water is the perfect example of the tight harmonies between Chuck and Stephanie and an old Green on Red song, We Had It All, brings the show to an end with the crowd wanting more and the two sublime performers smiling in the knowledge of a fine night’s work as they left the stage. 

 Review by Paul McGee. Image taken from the cover of Chuck Prophet Dreaming My Dreams

Dar Williams @ Workman's Club. Sunday 24th May 2015

With an enthusiastic audience welcoming back Dar Williams to these shores, this turned out to be a wonderful evening of song, stories and warm reflection.

 Lucy Wainwright Roche opened the show with a set that was filled with great songs and sparkling conversation. She is a real tonic, whether giving her observations regarding the state of play in her extended family ("the last thing you need is another one of us coming to sing you songs") or her insights from travelling alone in her car for the last few years. The performance tonight is focused mainly on her recent release There’s a Last Time for Everything. Her voice is very clear and has a beautiful quality as she sings from the heart. Numbers such as Seek & Hide, Last Time and The Same, all stand as a testament to her fine writing and rich talent.

Dar Williams is such a confident and gifted performer and she handles her 14 song set with complete ease in both delivery and pacing. A very entertaining story teller, Dar gives insights into the various songs and what motivated their writing. She plays 7 tracks from her new release, Emerald and such is the quality of the performance that they slot straight in beside the more recognised numbers as if they are old favourites.

Starting with The Babysitter's Here and following with three new songs in Something to Get Through, Slippery Slope and the title track Emerald, the solo guitar sound allows them to be heard in their original form. The Ocean and Mercy of the Fallen are given an airing plus Iowa, a song that is high on the wish lists of many in the audience as they join in with the sing-along chorus.

Empty Plane and Mad River are played from Emerald, together with Weight of the World originally writen by Kat Goldman. The One Who Knows is one of the great songs in celebration of the bond that exists between a parent and a child, summed up in the lines; “So when they ask how far love goes, when my job's done you'll be the one who knows”. What  lovely words.

Lucy Wainwright Roche joins Dar Williams onstage for a few numbers including the Irish ballad ‘Will Ye Go, Lassie Go’ written by Francis McPeake. For the encore, Dar sings New York is a Harbour, a song that celebrates the great city and all its’ contrasting influences.

With such a large body of work there were many more songs that the audience would have liked to hear. Sadly the evening comes to a close and both artists move to the merchandise desk in order to meet and greet people and sign CD’s. 

Dar Williams is a true talent to all who have been influenced by her insightful and intimate songs. She has the gift of communicating the human experience into something that can be shared and this, after all, is the real power of music.

Review by Paul McGee    Photograph by Vincent Lennon