"Nashville" Live in Dublin@ 3 Arena – 20th June 2016

 

Nashville comes to Dublin with a very impressive stage show that builds upon the success of the TV series which has been embraced by so many fans both inside America and beyond.

The TV show portrays the Country Music Industry in Nashville with a strong ensemble of interesting characters, some terrific music and plots that rival the oil-industry intrigue of Dallas, back in the days when such TV shows were in their infancy. It has captured the hearts and minds of so many outside of the USA as witnessed by the wildly enthusiastic reaction given to these musicians /actors who make the trip to England and Ireland for their first tour outside of the USA.

The presence of bona fide TV stars who can both ‘walk the walk and talk the talk’ is very rare and the individual talent on display at the 3 Arena is very impressive when you witness the live performances of Charles Esten (Deacon Claybourne), Sam Palladio (Gunnar Scott), Chris Carmack (Will Lexington), Clare Bowen (Scarlett O’Connor), Jonathan Jackson (Avery Barkley) and others.

Each takes the stage solo for a few songs before being joined by another famous character from the show, either to sing together or to take over for the next section of the show. This diversity creates a very enjoyable tempo to the overall performance with each performer staying only long enough to achieve the maximum reaction from the audience before handing over the microphone to the next in line.

The principal artists are backed up by a wonderful 5-piece band that is led by guitar maestro Colin Linden. This backing band are supremely talented and the diversity of songs hold no real challenge as they rise to the occasion with subtle playing across a range of instruments, together with driving rhythms that add to the dynamic required on many of the song structures.

If you do not watch the TV show then these songs will mean little in terms of their titles but most are originals, written by the musicians who act in the series, together with a number of co-writes with renowned Nashville song-writers. The show has a number of highlights and it is the vocal power of the individual performers that impresses most. The cynical among us may assume that these actors have their vocal parts overdubbed for TV but hearing them sing live just blows this myth out of the water. It is rare to also see such ease displayed by the singers on their musical instruments with Chris Carmack stealing the show for his inventive playing on guitars and saxophone.

He kicks things off with a fine version of What If I Was Willing which is one of Will’s key songs from the TV series. Later in the show he returns to deliver a great Pieces of You and a B.B. King cover of Sweet Little Angel.

When Clare Bowen speaks of her little brother who has been seriously ill and her recent bone marrow donation to him, there is a hushed silence in the arena that empathises totally with the pain behind her very personal story. Clare then sings Love Steps In a song written for her brother by her fiancée Brandon Robert Young and Justin Halpin and the audience reaction to her heart-felt vocal is both genuine and prolonged, bringing Clare to tears as she stands in the moment shared by all. It is a magical performance and she adds to her great charm with a performance that sees her own the stage across songs like Premonition and When The Right One Comes Along.

Jonathan Jackson speaks very fondly of Ireland and the fact that he honeymooned here with his wife; indeed, they celebrate their wedding anniversary the very next day after this show. He is a very genuine performer with a great vocal range which he shows on a killer version of the U2 song Love Rescue Me. He also sings a song for his wife Only Love Remains and performs as part of the TV show trio, the Zag Band alongside Sam Pallagio and Chaley Rose, who plays Zoey Dalton on the series and follows the trend of delivering a very assured vocal performance.

Sam Palladio plays a number of songs solo, from show favourite Count On Me to a song for his Grandad called Wake Me Up in Nashville, while a duet with Clare Bowen Fade into You was also a real highlight.

Charles Esten is a real heart-throb for the female fans of the TV show and he delivers a really confident performance with songs such as Just Like New, I Know How to Love You Now, No One Will Ever Love You and a duet with Clare, Hand to Hold which sees both performers leave the stage to join the audience in the song performance.

A new song He Ain’t Me is followed by Till the Next Time when all performers take to the stage for a grand finale. An encore of favourite A Life That’s Good brings the evening to a very positive conclusion with both performers and audience completely connected in unison and singing along in celebration of an evening that had a little of everything.

The overall sense of belonging to this extended family is was perfectly summed up by Clare Bowen when she spoke of being yourself at all times and "never let anybody kick dust on your sparkle" …

The TV programme just ended the 4th series in America and has been picked up by CMT for a 5th season. This seems to be a perfect fit for the TV series going forward and with such a devoted following, which will only grow bigger on the back of the superb song-writing talents of all concerned, we are witness to a real feel-good experience in a time of gathering storm clouds and uncertainty in the World. It is true that music is the great healer and long may Nashville spread the happiness generated on nights like this.

Review and photograph by Paul McGee

Carlene Carter @ Whelans, Dublin - 14th June 2016

This is a very welcome return to Ireland for Carlene Carter and she takes to the stage with great energy and enthusiasm for tonight’s show. Playing acoustic guitar, keyboards and auto harp Carlene performs a set that visits various stages of her career while also paying tribute to the legacy of the Carter Family, especially her mother June Carter Cash and of course, the man in black, Johnny.

Carlene has always been noted for her strong vocal delivery and this has not changed over the years. She can still hold a tune better than most and delivers with an impressive stage performance that highlights her warm personality and her ability to tell a good story.

There are tales of her Mother and her Grandma and insights into the life they led as the Carter Family in bringing music to greater America, where the live performance was everything. It is the songs that hold the memory dear and Carlene talks of losing her mother in 2003, along with her sister and step-father over a short space of time.

She speaks of living a life that has been full of great experiences but also says that she was a "train wreck and a half" at one point, where she needed to make some serious changes.

From her latest release, Carter Girl, we are treated to great versions of Little Black Train, Lonesome Valley and Me and the Wildwood Rose (written in memory of her sister Rosie). With Black Jack David she is joined by her husband Joe Breen (see above) who sings harmony and trades verses which is followed by a rendition of 40 Shades of Green where the audience sings along with this Johnny Cash penned song written on a Irish visit.

Ring of Fire, written by her Mother, is played in a stripped-down style that adds greatly to the original song meaning of falling so hard for someone that the flames of desire engulf you. Troublesome Water is a song that reminds Carlene of her Grandpa and his love for fishing and the thrill of being rescued at sea by the coast guard when the boat had run out of fuel and could not return to shore.

Quarter Moon in a Ten Cent Town was covered by Emmylou Harris and we are given a fine example of her song-writing craft on a number of selections such as The Bitter End and Change, a very personal song in which she sings "sleep is not my friend, ‘cause dreams just feed my tears." 

This is a very honest performer who lives her life large and is proud of all the highs and lows. She speaks of her family heritage with endearing reflection and affection for all that has passed in between. Singing Wildwood Flower and Dixie Darling brings home the history shared across country music by this legendary family and the reach that the music continues to have into the hearts and minds of music lovers around the globe.

A fine artist who wears her fame lightly and who continues to deliver at a high level of integrity in her writing and in singing these songs of pain and redemption. 

Review by Paul McGee  Photograph by Declan Culliton

Lera Lynn @ Whelans, Dublin - Friday 10th June 2016

"This is exciting" announces Lera Lynn as she takes the stage to a warm Dublin reception at her first Irish date at Whelans. Lynn’s career path has been heading northwards over the past eighteen months with appearances on the David Letterman Show, writing songs for and appearing in the second series of True Detective (the second series got less than lukewarm reviews with Lynn’s role being descripted as the highlight of the shows), writing and working with T Bone Burnett and Rosanne Cash and finally releasing her latest album Resister (see Lonesome Highway Album Reviews Section) last month. Tonight’s show is the final night of her European tour before she joins Ben Folds for some dates in the UK.

The last night of tours can be unpredictable, often spectacular, sometimes less than memorable. Tonight’s show certainly falls into the former category with Lynn and her musical partner Joshua Grange delivering a ninety minute, 14 song show that reinforces precisely why the young Texas-born Nashville resident is such hot property at present.

She has the confidence and stage presence to engage and amuse a very attentive audience throughout the evening. At one point she holds up her pint of Guinness and jokes "first time in Ireland but sadly for only 24 hours, torture. We are, however, having the Irish experience" and pointing to the pint adds "we intend taking in as much of it as we can."

Her set consists of material from her three studio album together with songs from the True Detective soundtrack and a few well-chosen covers.

Lynn’s latest album is an experimental departure from her earlier work, introducing a much darker, atmospheric and cinematic edge to her work in contrast to the more rootsy country feel of her earlier material. This deviation is evident this evening even in the delivery of some of her earlier material which is performed with a more edgy feel than the studio versions.

Opening her set with Coming Down and Standing on The Moon, both from The Avenues, the quality and range of her flawless vocal together with the stunning guitar playing by Grange and indeed Lynn herself, kick in immediately. 

"How do you all feel about Bruce Springsteen" she asks the crowd to a positive response. "How do you all feel about saxophones in rock music" she continues.  She notes then that she's "not so sure about the saxophones but here’s a Bruce number anyway." Then she delivered a seductive version of Fire.

It’s interesting to note from the audience reaction to songs in the set from the True Detective (My Least Favourite Life , The Only Thing Worth Fighting For, A Church in Ruins) that quite a number in attendance only know Lera Lynn from her appearances in the series. "I worked with Colin Farrell you know" she teases to loud cheers.

Together with her glorious soaring vocals throughout the show her rhythm guitar work is also top drawer and in musical partner Joshua Grange she has the perfect ally. Grange’s pedigree is legendary having toured with Dwight Yoakam, kd Laing, The Dixie Chicks and Lionel Ritchie. His playing is stunning throughout, never better than on the sultry, bitter sweet What You Done and on an electrified version of Bobby Baby from her debut album. Grange also adds backing vocals and harmonies giving the two piece a full band effect.

What You Done was introduced tongue-in-cheek as the "most satisfying song I’ve ever written" and is probably the benchmark for much of the material from Resister. Dark, pulsating, it’s a monster of a song and is given justice live by Grange's baritone guitar and Lynn’s cutting vocals. Somewhat surprisingly only four songs from the latest album are performed with Little Ruby, her last song, getting the loudest cheer of the night with its catchy rhythm and the slick repetitive riff. 

A solo delivery of A Church in Ruins from True Detective and a perfectly paced version of Ring of Fire with Grange back on stage closes what has been a gig to remember by a rare talent that without doubt has the potential to become a household name in the Americana genre going forward.

Review by Declan Culliton   Photography by Ronnie Norton 

Doug Paisley @ Whelan’s, Dublin - June 2nd 2016.

In Ireland for a short tour, Doug Paisley looks every bit the lonesome troubadour as he takes to the stage with a single guitar and a hand written set list that spans his three solo releases to date. 

The upstairs venue is an intimate setting and the audience are here to listen attentively to the songs and stories of this talented artist. He has a very witty and personable style and the between song anecdotes and insights into the inspirations that create the lyrics are both entertaining and telling.

Over 90 minutes, that really fly by, we are treated to some very impressive guitar playing as Paisley weaves rhythm and melody from his left-handed guitar, making the artistry look effortless and fluid. He has a timeless quality to his writing and delivers in a gentle and restrained fashion, both softly reflective and possessing great depth.

From the latest release, Strong Feelings we are given fine renditions of Radio Girl, Song My Love Can Sing, What’s Up Is Down and To and Fro. All the songs explore human relationships and our fragile nature when it comes to loss and making sense of this World.

A number of songs from the Constant Companion release (2010) are also played and No One But You, What I Saw, Bluebird, End of the Day, Come Here My Love and Always Say Goodbye are given a fresh airing, each sounding as new as the day they were first created.

We Weather, Bats and Learn to Lose are taken from earlier recordings and there is also a Gordon Lightfoot cover of Steel Rail Blues to entertain the enthusiastic audience on a night when this artist could do no wrong. 

Starter Home is a song about exactly that, the beginning of a relationship that is filled with hope and optimism for the future and this is what sums up the endearing quality of this Toronto musician; a simple understated artist who serves the songs he has created with great conviction and talent. He is always welcome in Ireland.

Review and photograph by Paul McGee

Blue Rodeo @ The Grand Social - 21st May 2016

There was no doubting that this was a largely partisan audience who packed the venue to see one of Canada’s finest roots bands play a rare gig in Ireland. They returned after a six year absence as a acoustic four piece to play an 90 minute plus set full of songs that were firm favourites with the band’s fans. The full band was stripped back to allow a less stressful musical setting to help accommodate founder Greg Kellor’s sensitive hearing and tinnitus. Not that the performance was affected in any way as Greg along with fellow founder Jim Cuddy on guitar, mandolin and piano, bassist Basil Donovan and guitarist Colin Cripps delivered compelling proof as to why they remain such a popular and dynamic band.

The latter played some outstanding, extended acoustic guitar lead breaks throughout. Having seen him play a Dublin show with Kathleen Edwards, where he was equally excellent on electric Telecaster, he deserves any credit due to him for his skill and sensitivity as part of the band. That in no way detracts from the musicality that the other members brought to the show. After the Rain was one such song that had all guitars firing on all cylinders.

Cuddy said at the head of the show that as they don’t get here that often they would consider some requests and were immediately bombarded with song suggestions. Some of the songs needed no introductions were others were given a little background. One such was the song What Am I Doing Here? about the time they played a State Fair, as headliners, after a multi-group ‘Battle Of The Bands' contest. Another was the story of getting away in the hope of trying to save a relationship. In which the lady in question picked up a sand dollar and made a wish before turing to him and saying “oh, you’re still here”. The inspiration for the song Disappear.  

Other songs that hit home included Hasn’t Hit Me Yet, ’Til I Am Myself Again, Cynthia, Try and my particular favourite 5 Days In May and judging from the reaction a lot of others too. They also included a rarely played song (Finger Lakes) for promoter Paul (McGee of this parish). Lost Together was started by Kellor singing off mic and with the audience joining him in the chorus - one of those moments that usually only occur when an audience is as one with the band; when the affection comes from both sides of the stage.

After the gig many expressed that they thought that this gig was one of the best they had attended. One person, who had seen them many times previously, both here and in Canada, was of that opinion. Indeed it was a more intimate setting than the band usually play back home. It was that kind of special evening were everyone involved went away with a smile on their face.

Review and image by Stephen Rapid

David Corley and The Wandering Stars @ The Workman’s Club 10th May 2016

Little more than eight months after suffering a heart attack on stage at Groningen Netherlands, it’s hard to fathom that David Corley is completing the second last date of a gruelling 10 shows in 12 days’ tour of Ireland.  A triumphant return to Kilkenny for two shows at The Kilkenny Roots was followed by concerts in Carlow, Cork, Waterford, Tipperary, Galway and Dublin with an additional farewell trip back to Cleeres in Kilkenny for what has been an incredible tour.

It’s worth noting that a sizable contingent in the audience at The Workman’s Club tonight also attended Corley’s shows at the Kilkenny Roots Festival just over a week ago and equally noteworthy is how much tighter as a unit Corley and his wonderful Wandering Stars are this evening. No doubt as a result of the hectic schedule on stage over the preceding week.

The Wandering Stars consist of multi-instrumentalist and producer (Hugh) Chris Brown on keyboard and guitar, Brown’s fellow Openhearts Society vocalist Sarah Mc Dermott, singer-songwriter and mandolin/guitar wizard Joey Wright, ex-Bourbon Tabernacle Choir drummer Gregor Beresford and very special guest and bass guitarist supremo Cait O’Riordan. Individually a collection of outstanding musicians and collectively as tight a unit as possible.

Taking the stage following an excellent opening set where Brown, Wright and Mc Dermott all contributed offerings from their own music collections, Corley reports sarcastically that the only medical impediments to report since his heart attach were ‘having a tooth pulled after my second Irish date, by a pliers by the feel of it, and getting may hand stuck in the tour van door’.

His set-list visited material from Available Light and his more recent recording Lights Out together with a beautiful song titled Zero Moon, to be included in his next album due for release in 2017. This was performed with Corley on keyboards and Brown contributing guitar duties.‘I’m really like a kid in a Candy Store, dad look at me now!’ Corley offered explaining his ambition from an early age to play Dublin.

Highlights included the rocking Dog Tales, written by Corley some years ago while he resided in New York ‘living the most decadent existence’, the wonderful opening track from Lights Out, Watching The Sun Go, and Calm Revolution, sounding even better live with backing vocals by McDermott, Brown and Wright giving it that additional punch.

Dividing Line from Lights Out, the final song, refers to Sunset Boulevard and the thin line between residing in the swanky side of San Francisco, where Corley’s sister lived while he was resident in that city, or in the less salubrious districts that exist not so far apart.’ I lived in the flats’ Corley joked. The song also brings to mind the thin line between life and death, an obvious consideration for Corley given that the song was composed during his period of recovery.

All in all, an enthralling evening by a team of musicians at the top of their game and supporting a songwriter that undoubtedly has their love and respect and witnessed by an audience quite obviously savouring every moment.

Particular mention must go to Garry Kehoe for promoting and tour managing Corley and his assembly of such talented musicians for a tour that included shows in towns seldom visited by international acts. It is so satisfying that all the shows outside Dublin were sold out and an indication for the appetite of music lovers all over the country to come out and support live music given the opportunity.

Review and photograph by Declan Culliton

The Long Ryders @ Whelans Sunday 8th may 2016

The expression “what is seldom is wonderful” seems appropriate in the case of the Long Ryders. Touring to back up the release of the definite 4 CD box collection Final Wild Years (which as Dublin was the last night of a 12 date tour was sold out). The band had last visited Dublin back in 2004. Sid (Griffin) enquired as to whether anyone in the audience had been there and on hearing a round of affirmatives doubled that that was true. Hey Sid, I was there, as Lonesome Highway had reviewed that gig and interviewed you.

However the room was full and Sid thanked them for coming out on a Sunday night. The band certainly relived those final wild songs that have stood the test of time and still resonate with the audience. How much they might do so with a young contemporary audience is arguable. That however, doesn’t diminish the power and quality of the songs - or their performance. From all parts of their career came Run Dusty Run, Lights Of Downtown, Gunslinger Man, Good Times Tomorrow, Hard Times Today, Tell It To The Judge on Sunday, (Sweet) Mental Revenge, Wreck of the 809 and many more in a 25 song set. One that concluded with the obvious crowd pleasing favourite final encore of Looking For Lewis And Clark. Mr. Griffin joked at one point that they were “touring the singles” commenting that we should notice that “that the word ‘hit’ “ was absent from that sentence’.

The band look no older than they did on their last visit to Whelans and played with the same ageless energy -  though by the end of the set Sid Griffin’s voice was showing the signs of singing over an electric band rather than the acoustic tones of his regular band The Coal Porters - The long Riders are Greg Sowders on drums, Stephen McCarthy on lead Telecaster and vocals, Tom Stevens on bass and vocals and Sid Griffin on guitar and  harmonica. With all three handling lead vocals and harmonies the songs were varied and interesting. The majority were uptempo powerhouses but there were also a couple of slower songs to balance the set. There is always the danger that a legendary band can disappoint in a live setting and though there was a rough edge to the sound the overall effect was solidly steadfast. 

The latter part of the set had a tendency towards twang while mid set once Griffin had strapped on the Rickenbacker for Ivory Tower there was that distinctive Byrds-style jangle that was very welcome. With Sid conducting the audience readily joined in the songs chorus on que. There was a degree of deadpan humour from Sid throughout. He noted how the music played as a band came on stage was cut once they came onstage ready or not. At one point as the band refined the stage sound there was a request from more kick (drum) upfront to which Sid rejoined “And I could use a kick up the rear”.

When the band came onstage for the trio of encores songs they requested that the audience smile while they took photos from the stage. This was the last date so they gave the show as much as they could and the audience gave it back. As Sid left the stage he told them that he loved everyone here and that if anyone knew broadcaster John Kelly (who couldn’t make the show)  to tell him, no matter what they thought, that it was a great evening. No need to lie it was a special one from a band who never really got there due but have left a live and recorded legacy that is testament to their worth. That, my friends, is the state of this union.

Review by Stephen Rapid   Photography by Kaethe Burt-O'Dea

Kilkenny Rhythm & Roots 29th April-2nd May 2016

Dierks Bentley @ The Olympia 21/4/2016

I was absolutely gobsmacked on being handed a neat sticker with ‘Dierks Bentley – Dublin 4-21-2016’ as I left the Olympia after the gig. The woman who handed it to me said ‘I could see you enjoying yourself and we had these made for tonight. Isn’t he wonderful?’, in a heartland American accent.  Apparently there is a pretty large group of American fans who follow Dierks just about anywhere, something I remember from his Dublin debut at Whelans over 10 yeas ago.

Tucker Beathard opened the evening with a gritty-voiced, well received acoustic/electric set, with his songs appealing particularly to the American contingent, who seemed to know every word.

Dierks and the band came on at 10 to 9 and opened with Up on the Ridge which started off acoustic but was the full electric band by the end of the song. The band are fabulous musicians; two electric/acoustic guitarists who double on mandolin and fiddle, a steel player who also plays banjo and Dobro and a very powerful yet subtle drummer.

The set was full of hits Free and Easy(Down the Road I Go), 5-1-5-0, I Hold on, What was I Thinkin’?, Drunk on a Plane (the second and final encore), Riser and Somewhere on a Beach, Dierks’ current single which was a Billboard number 1 on the night. He also played a Merle Haggard cover, The Running Kind and included some songs from his new, about to be released album Black; the lovely cheatin’ song I’ll be the Moon and, in response to an unexpected request from the audience, Freedom.

A frequent visitor to Dublin, Dierks seemed pleased to be here and to be playing the Olympia. The sound was variable, but mainly good, but LOUD which really showed when he played the Merle Haggard tribute which was quiet but gutsy. 

I’m still startled by the audience participation – everyone knows the songs, and by gum, they sing along. Quite unlike the days when you went to a gig to actually hear an artist. It was a good night and I hope many more country artists follow Dierks’ example and play Dublin apart from the big gigs like C2C.

Review by Sandy Harsch  Photograph by Ronnie Norton

Dave and Phil Alvin & the Guilty Ones @ Whelans Tuesday April 12, 2016

This was a really good gig with a good crowd. So much so that the upstairs balcony had to be opened. It started at 8:45 and ended just over two hours later after 3 encores and the audience looked like they would have happily stayed an all night.

The two opening numbers were from the excellent Common Ground Big Bill Broonzy tribute album the brothers released two years ago. Dave introduced big brother Phil, making his Irish debut, although Dave Alvin has been a frequent Irish visitor. The music was very varied with several songs from the new album Lost Time including Late Date favourite World’s in a Bad Condition, the sly Oscar Brown Jr tune Mr Kicks and Big Joe Turner’s Cherry Red Blues, which Dave introduced with memories of meeting Big Joe when he was just a kid in Downey California following in big brother Phil’s broad shoulders and adventurous musical footsteps. Dave did all the talking – Phil said not a word – and indeed Phil looked alarmingly frail, but his singing was mighty, as was his harmonica playing.

The band was Dave’s wonderful Guilty Ones; Lisa Pankratz on drums, Brad Fordham on bass and Chris Miller on second lead and slide guitar. Pankratz is simply one of the best drummers around, Fordham’s bass lines are full and just right, while Chris Miller’s playing, especially his slide work, leaves me breathless and wanting more. Dave is an incredible guitarist; I’ve seen him and the band several times recently at the late lamented Johnny D’s in Somerville, Massachusetts and he just gets better and better while somehow making it seem effortless. He is also amusing and good at spinning a mood when introducing songs. When it came to the encore he was exceptionally articulate in dedicating Kern River not only to ‘the finest songwriter California ever produced’ but also to his friend Steve Young another fine songwriter who has never received full credit for his work.

The third and last encore, after Kern River and Marie, Marie was a fabulous rambling version of Turn on your Love Light with several songs (among them When the Saints go Marching In) interpolated into the coda, led by Phil’s harmonica. You really had to be there … and the next time they come back – you should be.

Review by Sandy Harsch  Photograph by Declan Culliton

Giant Sand @ Whelans, Dublin 13th April 2016

The (fake) snakeskin-suited Howe Gelb led this version, for what was rumoured to be the final time, of Giant Sand for what turned out to be pretty special farewell. He opened the show seated behind the keyboards with what he wryly introduced as a song from the next tour. He was accompanied by bassist Thøgar Lund and drummer Peter Dombernowsky for the first set of songs before announcing the first appearance of Maggie Björklund on pedal steel guitar. A standout of this set was a version of He Stopped Loving Her Today.

He then introduced guitarists Brian Lopez and Gabriel Sullivan to the stage. Both have released solo recordings and are members of interesting Tuscon band XIXA. The latter delivered a stunning version of The Ghost Of Tom Joad, the Bruce Springsteen song, which he has recorded under his own name. it was then Lopez’s turn and he sang a song in Spanish. For these Gelb had left the stage but soon rejoined on electric guitar and mellifluously mottled vocals. Of his sartoriol elegence the suit he informed us came from Dusseldorf while the fedora was from Portugal. The bolo tie was likely from somewhere closer to home.

From then on he drew songs from the air from the numerous Giant Sand releases from over 30 years. “The evening dictates the set” the told us noting that he had a long standing paper allergy and that they never used a set list. It didn’t really matter if you knew the songs or not as these were largely going to be what they were on the night depending on the band, mood and the weather!

The triple electric (and sometimes acoustic) line-up was a powerful and largely organic beast. It made me think that the massed hard rock guitars witnessed recently at C2C for what was passing as country music had none of the grace or invention (and lack of rock god poses) on show here tonight. The band rocked without ever loosing track of the songs and the mood they wanted to create. The pedal steel was used in interesting ways and Gelb said Björklund was one freeing the instrument from a long imprisonment in country music. 

Gelb brought his daughter Patsy Jean onstage for a memorable version of the Lee Hazelwood song Sand (a song that Gelb had previously recorded with Lisa Germano as OP8). She remained on stage for a selection of other songs. Hurtin’ Habit had a solid Bo Diddley beat under the repeated “I Hurt Myself” vocal refrain. For the final set of songs they were initially joined by their support Jason Lytle (of Grandaddy) before finishing the night with a couple of songs from the guitar based five piece.

 It was a evening to remember from a band that will be hard to forget; full of inspirational playing, compelling vocals and an overall a sense of fun and adventure that you don’t find that often these days.

Review by Stephen Rapid  Photograpohy by Declan Culliton

C2C Festival, Dublin - 11/12/13 March 2016

Dedicated fans and musicians brought enthusiasm to see a treasure chest of talent. For many of the artists this was the first time in Ireland and the energy displayed by the audience who attended gave a warm glow to the performers and left of variety pleasant of memories. What did we learn from a complete over-indulgence in all things country? 

72 hours of music offered up 11 different acts and plenty of talking points surrounding in what direction country is now heading. For the traditionalists who grew up on Johnny Cash, Merle Haggard and Hank Williams, there was less on offer. The newer wave of country fans shouted their claims for a future with a modern sound and an open approach to influences from other musical genres including commercial pop, hip hop, rap and blues influences. Bands played with backing tracks and loops to augment the sound, which was loud even at the quietest volumes and hitting danger levels when everything was cranked up.

The Eagles sang about a ‘new kid in town’ and at one time this used to be the maverick persona and talent of Dwight Yoakam; all skin-tight denim, Manuel jackets and cowboy hat tipped low; his pointed boots spinning him in a groove that had women screaming for more as he moved his butt to the Bakersfield Country sound of honky-tonk bars. 

The new, for those who have not realised it yet, comes from vibrant artists such as Eric Church, Thomas Rhett and Sam Hunt. This is a brash mixture of different musical colours with a palette of hard rock influences up against electronic rhythms and looped beats which synch into the soulful pop sounds of radio friendly tunes.  It is full of broad new brush strokes - but is it really country?

Perhaps we should not be so purist as we look back to the roots of the genre and instead look forward to the new urban influences that have merged into country music to make it bigger in a crossover scale than it has been before. The young audience at the 3Arena knew all the songs and were happily singing along to each new act as if they were old time favourites and I had to ask ‘what is so wrong in having a good time?’ and bringing joy to people through music – whatever new direction it takes.

The first night of Country to Country shows us exactly how diverse and wide country music is today. On offer are three acts, all hugely enjoyable, but with little in common except the stage they all share.

The menu of artists offered by C2C, and in particular the variety of acts gathered under the country umbrella, is quite refreshing, giving  the audience an opportunity to sample acts that might not otherwise be obvious choices. Hopefully C2C will continue to offer such diverse and interesting acts and all will be equally well supported.

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Friday Night

Opening act Chris Stapleton is a renowned songwriter who unexpectedly swept the board at last year’s CMAs following the release of his acclaimed debut solo album Traveller. However strong the material on the album may be, it reaches an altogether different level when delivered live.

Stapleton’s band is JT Cure on bass, Derek Mixon on drums and his wife Morgane (‘’the love of my life’’) on backing vocals and his show is in complete contrast to the acts that follow. The band totally tight, natural and at ease, with the passionate vocals of both Stapleton and his wife  out front.  Their sound is raw, bluesy and appears effortless and casual as if they are performing their weekly residency at a local club.

Drawing in the main from Traveller, Chris opens with Nobody To Blame and delivers a blistering performance of southern rock, blues and country before finishing with the old George Jones hit Tennessee Whiskey in a set that unfortunately is allocated only forty minutes.

Might As Well Get Stoned rocks out with its ironic Rolling Stones Start me Up riff, More Of You soothes and tempers, and a cover of You Are My Sunshine, which Morgane Stapleton has recorded for producer David Cobb’s  Southern Family album, is adorned by striking vocal harmonies and a killer guitar solo by Chris.

Kacey Musgraves is completely different from an entertainment, if not musical, point of view. A mariachi-sounding intro gets her set under way with the stage in darkness with only a glimmer coming from the twinkle lights adorning the rhinestone jackets and trousers worn by her band, The Runners Up, as they make their way on stage. Kacey follows in a sequined outfit, looking every part the Pageant Queen of her opening song.

She immediately has the crowd eating out of her hand with her polite manner (‘’I so love Ireland, it’s great to be back, how many of you were at my show at The Academy?’’) It’s academic that she gets probably two thousand replies of ‘yes’ given that the Academy has a capacity of 500!

The majority of the set is drawn from her second album Pageant Material with Merry Go Round and Follow Your Arrow included from her debut, Same Trailer Different Park. Mama’s Broken Heart, co-written with Miranda Lambert, also features in her sixty minute set. She introduces the beautiful ballad Fine as ‘’my grandma’s favourite song, she wouldn’t let me record the album unless I included it’’ and Late to the Party as ‘’my favourite song on the album’’

Her six piece band are meticulous throughout, though possibly a bit restrained as each song is delivered note for note as the recorded versions, leaving no opportunity for improvisation.

A Kacey Musgraves gig is a show in the true sense; it is slick, it is fun, it is choreographed, it is sexy, it is innately musical and most of all - it is entertaining. And, it works.

Eric Church hits the stage at 9.15pm as the headline act to a loyal and expectant crowd, plays a blistering set (though possibly closer to stadium rock than traditional country) but is none the less engaging for that. From his opener Knives of New Orleans to his final medley of Dancing in the Dark / Springsteen, his show is full-on entertainment, delightfully over the top and a performance by an artist and band that really know how to deliver. Loud and frenetic with smoke machines, overhead visuals and lots of drinking songs, all contributing to a typical Eric Church show.

Church has the perfect ploy on stage in twin guitarists Driver Williams and Jeff Cease as part of his six piece band. Williams, with Nashville largely and proudly tattooed on his arm, prowls around the stage Ronnie Wood style, occasionally sidling up to the more sedate Cease for a double guitar solo.

The set in the main is a journey through Church’s considerable body of work, (‘’No big plan for tonight folks, we’ll just see how the night goes’’.) Obvious crowd pleasing rockers Creepin’ and Talladega are included but Church also has the ability to slow it down with impressive ballads such as Mr. Misunderstood and Like a Wrecking Ball, performed acoustic with only drummer Craig Wright in support.

These Boots feature the customary swinging cowboy boots in the air by some punters, a couple of pairs ending on stage and being autographed by Church. ‘Got down with old James Brown and found New Grass Revival’ roars Church, before he and his guitarists are engulfed by smoke machines at the front of the stage.Church has never made any apologies for his admiration for Springsteen and finishes the set with his teenage romance tribute song complete with Dancin’ in the Dark as the intro. 

Pretty remote from traditional country but showmanship beyond the call of duty; if you’re a Church fan, you’ve gone home smiling.

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Saturday Night

 The Following night opened with a superb performance from Ashley Monroe, a Tennessee-born artist and sometime member (with Miranda Lambert and Angeleena Presley) of the Pistol Annies. Monroe recently released of her album, The Blade. She has an attractive country twang that brings to mind Dolly Parton and her 5 man band are really tight and in the pocket of every song. Their ensemble playing is a real joy and the impression is one of a consummate performance from a hot band and  a consummate singer-songwriting talent.

Thomas Rhett follows with a live pounding sound that takes no prisoners. It is as much about electronic beats and loops as it is about country, save for a fine rendition over solo acoustic guitar of hit song Beer with Jesus. Rhett works the arena better than any other artist on the weekend by taking to the aisles and engaging directly with the fans, while his band supports his soulful singing and obvious talent to communicate. Highlights are songs like Happy Man and Crash & Burn (written with Chris Stapleton) and the crowd really lap it up.  

Dwight Yoakam and his band of 4 musicians take back much of the original country territory with a set that is crammed with short, sharp and brilliantly executed hits. Dwight not only sings with his trademark hard country voice, but looks every bit the country star. Some early sound problems with his amp throws him a little, but his peerless performance and guitar playing take us all back to when he broke on the country music scene in the mid 1980’s with his debut Guitars, Cadillacs etc. release, and he plays a wide selection of tunes taken from his 14 studio releases to date. He also pays tribute to recently departed Eagle Glen Frey with a cover of Peaceful Easy Feeling and to the late Sir George Martin with a rockabilly version of I Feel Fine. Nothing less than superbly honed, both in attitude and performance, this is a classy set from a true artist.

The final act of the evening is Miranda Lambert and she really goes for broke with a set that is full of great stage craft and a backing band comprising 8 musicians who all play as if their lives depend upon it. Very talented singer that she is, Miranda also writes some superb songs and takes a stand for girls who suffer heartache, whether in life or relationships. She stands up for her beliefs in pushing through disappointments and the sometimes harsh realities of life, dealing with the pain in an uplifting warts and all attitude to staking a claim and standing tall. Songs like Fastest Girl in Town, Little Red Wagon and Gunpowder & Lead get a huge reaction but it on songs like Over You and The House That Built Me where the real power in her performance can be seen. This is a superb show from a very talented artist who works the stage with both commitment and charm.   

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Sunday Night

The venue is still rocking to the sounds and video clips that play before, during and after each act. First up is a new sensation to hit the country music charts, Maddie & Tae, a duo with plenty of youthful energy and fizz about them. These girls are in their early 20’s and just starting out, but they already possess enough to deliver a very successful debut recording that has seen them gather great recognition as the next female act most likely to… Terrific harmonies, tight songs and bright voices are their calling card and they work hard at their performance and win over the large crowd who cheer them all the way through songs like Girl in a Country Song, a response to the Bro-Country trend that exists in Nashville. Start Here is another winning song and their performance gets them many new friends and admirers.

Sam Hunt is next and his 3-piece band of drums and twin guitars play over pre-programmed bass lines that come pulsing out so loud that you can feel the vibrations. This is an uncomfortable experience and one that does not lend itself to the songs trying to make their way over an unrelenting beat. He seems to be a popular performer, judging by the reaction of the crowd, but quite a few of the older generation retired to the bar area and the relative safety of a distant drink. Not for everybody, but perhaps the live performance and the production on Hunt’s debut release offer different moods and perspectives. 

Little Big Town have been together as a group since 1998, releasing 6 albums and winning a string of awards. Their 4 part harmonies are so tight that you would be hard pressed to separate one voice above the others as they swoop and soar around each other. It is a wonderful sound to experience live and the celebratory nature of their song arrangements and melodies have the crowd jumping in joy after the opening numbers. Hugely accomplished performers, all four take turns in charming the crowd with their vocal range and powerful performance, backed by a superb band. Playing songs from a number of their releases, Little Big Town unleash a sound that delivers a vitality that give them the best reaction of the weekend.  Tornado, Pain Killer, Daydrinking, Girl Crush and Boondocks are just a few of the highlights in a set that just keeps building to bigger and better peaks, complete with St. Patrick’s Day banter and Irish flag holding photo opportunities. This is a compelling performance and a real marker for further opportunities to build on the positive reaction here.

The final act is the Carrie Underwood tour extravaganza, complete with 8 musicians and a stage that looks fantastic, with clean lines and plenty of space below a large screen that flashes a series of very impressive graphics and images throughout the set. Carrie is the ultimate female performer, working the stage so well and engaging with the crowd with consummate ease. Her vocal performance is quite simply stunning and she sings her heart out from the first number, Renegade Runaway, to the last song of the evening, Must Be Something in the Water, some 2 hours later. Draining to watch but her stamina is incredibly impressive and she drives her band to great performances with her energy and spirit. 

Jesus Take the Wheel is a hugely popular song and her tribute to Dolly Parton/Whitney Houston with I Will Always Love You is a match for either legendary singer. Blown Away is a real highlight with a breath-taking vocal that really floors the crowd and her up-tempo numbers are inspiring vocals as she sings her way through songs from her latest Storyteller release. 

Underwood has crossed over into a commercial power pop area and her contemporary sound sits well among any of her peers. Perhaps in time Carrie Underwood will return to a more considered, reflective approach to the songs she selects, but for now she has built her career and the sky is the limit. This is flawless performance from a talent whose voice can take her anywhere that she wishes to go.

This has been a really well run festival and full credit to the organisers and staff who made it an experience to remember and, indeed, to treasure. In the end, music is the real winner and we are all enriched by the experience.

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Ten overall observations on the 2016 C2C Festival 

1 This event underlines, if that were necessary, what a broad church country music is today, as it has been in the recent past. The definition now is so broad as to include almost anything musically; and that just to be signed to a Nashville label automatically makes you a “country” artist.

2 It was the first line up I had any inclination to attend in that there was a least some broadening of the pop-country leanings of the previous festivals.

3 The audience age range and the variety of appreciation for a particular artist was as varied as their music. The support for Dwight Yoakam seemed as enthusiastic as was that for Thomas Rhett, although two more opposite sounding artists you’d be hard pressed to find in any other genre.

4 The opening acts for the two nights I attended were both highlights; Chris Stapleton’s unadorned Friday set is something I wouldn’t have labelled country, but it was excellent and underlined his talent s a writer, guitarist and vocalist. His wife Morgane’s vocal talent was equally impressive.

The second night’s opening act was Ashley Monroe, whose vocals were clear and concise, and her band was the closest thing to Emmy Lou’s Hot Band heard in a long time. It was the most traditional sounding set of the weekend and over far too soon. Hopefully she will return for her own show in the near future.

5 The overall sound was loud but clear and the best I’ve heard in 3Arena to date. It was interesting that Chris Stapleton got as much out of his small Fender amp as Eric Church did from his guitarists playing through their massed Marshall stacks. At times however, the fuller drum sound from some of the acts was a near ear-shattering 100 decibels.

6 Dwight Yoakam and his band put on a no nonsense set of classic hits that covered the title tracks of his debut album through to his latest Second Hand Heart CD. Drummer Mitch Marine is the best drummer Yoakam has had and the rest of the band were all top notch, well able to recreate the sound of the earlier albums. Yoakam was having amp problems that seems to irritate him, but still delivered an 18 song set that concluded with songs dedicated to Glen Frey and George Martin (Peaceful Easy Feeling and I Feel Fine respectively).

7 Headliners Eric Church and Miranda Lambert both delivered strong sets for their fans that included pedal steel and banjo but the predominant sound was heavy drums and massed guitars. On her opening number Lambert had five guitar players.

8 The price of t-shirts seem to be getting a steeper with some being as much as €40. The average was €25. Hoodies were more expensive. Eric Church had the best slogans.

9 Prior to Thomas Rhett’s set we heard a brace of songs best suited to a dance club, while the music played before Miranda Lambert included Gary Stewart, Loretta Lynn, Merle Haggard and Waylon Jennings though the song played as her intro music was Led Zeppelin. Deliberate mood setting or what?

10 Kacey Musgraves played a similar set to that of her recent Dublin visit. The band are excellent and during the first song and other points where Musgraves left the stage for a costume change they played some atmospheric instrumental music which showed their collective talent, but it would have been nice to have them cut loose from their well rehearsed routine on occasion as at times they came over like a tame version of the Mavericks. Musgraves herself seemed to be happy to be up on the big stage and came across well.

Written by the Lonsome Highway team and edited by Sandy Harsch. Photography by Ronnie Norton

Malojian @ The Harbour Bar Bray - 21st February 2016

Lurgan based singer songwriter Steven Scullion, under the guise of Malojian, ended his whistle stop and sold out Irish tour with a show at The Harbour Bar in Bray before heading to the States later in the week to begin recording his next album with renowned engineer Steve Albini (Nirvana, The Pixies, P.J.Harvey, The Stooges, Robert Plant and Jimmy Page).

It hasn’t been overnight success for Scullion who has been assiduously writing music and performing for over a decade and a half. Formerly working as a duo in the band Cat Malojian, the rebranded Malojian feature singer songwriter Scullion on lead vocal and guitar together  with Joe Mc Gurgan on bass and Michael Mormecha on drums, also doubling up superbly on guitar. What particularly works for them are the stunning harmonies that embellish much of his material. His 2015 album Southlands, which followed the 2012 debut album The Deer’s Cry, was released to considerable  critical acclaim gaining plaudits from Bob Harris, Cerys Matthews with Scullion being described as ‘’the North’s best songwriter over the last half decade’’ in Hot Press Magazine. It speaks volumes as to the trajectory in Scullions career that his current mini tour resulted in full houses at Cork, Waterford and Kilkenny. Such was the demand for tickets in Kilkenny that an additional matinee show was scheduled with free admission for under eighteens.

So is all the fanfare justified? It certainly is based on tonight’s offering. Difficult to slot into any obvious genre, the two cover numbers included in the set this evening, Neil Young’s Out On The Weekend and The Beatles A Day In The Life, probably best describes where they are coming from, slotting in somewhere between those two artists, laid back late 60’s vibe, very catchy, well written and radio friendly material.

Scullion introduces the immediately fetching Communion Girls as his childhood fantasy of winning the hearts of the local girls with some Bruce Lee shapes and moves. Rich ballads including It Ain’t Easy and What Am I Worthfollow in a set which is essentially drawn from his recent album while also visiting material from his debut album.

Bath Tub Blues, written we are told by Scullion to entertain his eldest daughter, is simple, tuneful and works.Broke is beautifully delivered even though at under two minutes begs for an additional verse. In contrast is the more upbeat No Alibis driven by a drum beat that explores the British beat boom of the late 1960’s.

There is little doubt witnessing Malojian this evening that given the right breaks they have the potential to move to a level considerably higher than where they are pitched at present. Malojian are the opening act at The Kilkenny Roots Festival appearing at Billy Byrnes on Friday 29^th April. Highly recommended but book early as the show will without doubt sell out.

Review and picture by Declan Culliton

Celtic Connections, Glasgow - 22nd to 24th January 2016

The annual Celtic Connections music festival took place in Glasgow from 14^th to 31^st January this year. Over 2000 musicians, both local and international, performed at a number of venues across the city. Among the many Lonesome Highway favourite artists performing this year were Lucinda Williams, Jason Isbell, The Lone Bellow, Aoife O’Donovan, Ethan Johns, Frazey Ford, Greg Trooper, Gretchen Peters, Tim O’Brien, Jerry Douglas, Kimmie Rhodes, Lera Lynn, Lindi Ortega, Patty Griffin and Sturgill Simpson.

In recent years the festival has become part of the holy trinity of must attend festivals for the writer together with Kilkenny Roots and The AMA’s in Nashville

With inexpensive weekend flights it seemed the ideal incentive to kick off the January blues with a visit to the beautiful city of Glasgow for a weekend of music and merriment. The weekend selected included a choice of gigs from Lindi Ortega, Frazey Ford, Tim O’Brien, The Lone Bellow, Jason Isbell, Bella Flek & Abigail Washburn among others. Choices indeed.

The festival also offers the opportunity to renew friendships with so many UK & Northern Ireland fellow travellers that all attend the Kilkenny Festival every year.  

Friday night’s gig of choice involved a visit to the O2 ABC in Sauchiehall Street to catch Frazey Ford. Having witnessed the breezy, funky and founder member of The Be Good Tanya’s play an excellent show at Whelan’s last October expectations were high for a repeat performance. Joined on stage by the same musicians as the Dublin gig her entourage also included a horn section consisting of saxophone and trumpet. She more than equalled the Dublin show with a super cool set of southern soul beautifully executed vocally and featuring mainly material from her excellent 2014 album Indian Ocean. Particular highlights were the album title track, Firecracker and Done.

Support act for the Friday show was British Nigerian soul artist Ola Onabuke, quite well received by the punters and with talented musicians backing him. The impression, however, was that the material was quite repetitive and samey.

After a fairly lazy Saturday afternoon, it was off to the Oran Mor venue on The Byres Road to catch The Lone Bellow. The converted Kelvinside Parish Church, built in 1862, features a concert venue and two separate bars and is one of the most striking music venues in Scotland, retaining the majority of its original features and architecture.

The Small Glories were the opening act. Consisting of Canadians Cara Luft, better known as a founder member of The Wailin’ Jennys, and J.D.Edwards, they combine sweet, tight harmonies, slick guitar picking and old time claw hammer banjo playing to great effect. The highlight of their set being a stirring rendition of Way Down Yonder in The Minor Key of Billy Bragg & Wilco fame. A very impressive start to the evening.

Brooklyn three piece The Lone Bellow certainly delivered to an expectant and enthusiastic crowd. From the opening Green Eyes and A Heart of Gold to their encores Here Comes The Morning and Slip Sliding Away the reaction of the full house was a party-like singalong. Drawing on material from their two albums the up- tempo Heaven Don’t Call Me Home and Cold As It Is worked particularly well emphasising Zach William’s impressive vocal range to perfection.

Next up was The Scotia Bar in Stockwell Street. Established in 1792 and renowned as the oldest pub in Glasgow, the Scotia has been one of the foremost music pubs in Glasgow, particularly catering for the vibrant folk scene on the 1960’s. The Humblebums, otherwise known as Billy Connolly and Gerry Rafferty were regular punters. Timber beams, brass furniture and an open fireplace feature in the narrow passageway which barely allows two customers to pass without yielding a right of way. The Sunday afternoon music session on offer most certainly did not have its origins in the folk genre. Local band Three Card Trick’s repertoire consisted of a set of covers, impressively delivered it has to be said, including Motorhead, Thin Lizzy, Santana and Cream among others, delivered at an ear bleeding decibel level. When the only practical means of communicating with the person sitting across the table from you is by text, it’s probably a mite too loud.

With ears ringing it was decided to pay a flying visit to Mc Sorleys Music Bar a mere ten minutes walk away in Jamaica Street to catch local singer songwriter Daniel Meade. Unfortunately time pressure only allowed a short but highly enjoyable visit. Meade, who also fronts his band The Flying Mules, played as part of a duo and delivered a laid back and rootsy set.

Upwards and onwards to the O2 ABC for the Jason Isbell gig and what promised to be the highlight of the weekend. This evening’s opening act was Nashville based rhythm and blues artist Anderson East. Accompanied by a seven piece band, which included a horn section, East wooed the crowd with an impressive set, possibly closer to pop than blues, but delivered with great gusto and enthusiasm despite being hampered by one arm in a sling as a result of a broken collar bone.

What followed was nothing short of breathtaking. It’s not often that one attends what can be only described as the perfect gig but this was surely as close as you can get. Isbell, without doubt the premier songwriter of his generation, together with his by now customary backing band, delivered a blistering set consisting in the main of material from his two most recent albums, Something More Than Free and Southeastern. Also included was probably his strongest work with Drive By Truckers in Decoration Day, Outfit and Never Gonna Change.

He reminded the audience of his first visit to Glasgow as a young man with the Truckers which, after far too much whiskey ended up with one member of the band mooning on stage to the audience. ‘Things are a little different these days’ he joked.

Having followed Isbell’s career in his previous band, with the 500 Unit and his current band, it’s particularly noticeable that he has matured beyond recognition both as a songwriter, musician and performer. The quality of his material this evening was matched by that of his vocal and his fellow musicians whom he saluted and introduced individually on two occasions. Every vocal and each instrument were clearly audible, a credit to the sound engineer, making the occasion complete. Particularly noteworthy at the show and at the other concerts over the weekend, were the sound quality and the impressive lightning systems.

So many highlights in the set list to mention from the opener Palmetto Rose to the encores of Elephant and Super 8 but the most memorable musical moment of the weekend was his delivery of Children of Children from his current album, a heartfelt and beautiful song dedicated to his mother. "I was riding on my mother’s hip, She was shorter than the corn, All the years you took from her, just by being born."

A fitting finale to another cracking Celtic Connection weekend made particularly special by the great company from Glasgow, Belfast, Isle of Lewes, Poole, Morecambe and Ballymena. Looking forward to recapturing the same fun and music quality at Kilkenny Roots at the May weekend.

Footnote: Jason Isbell subsequently received Grammy Awards for Best Album and Best Song of 2015.

Review and photographs by Declan Culliton

The Mulligan Brothers @ Whelans - Sunday 7th February 2016

This is the final night of the Mulligan Brothers premier Irish tour and these four very talented musicians from Alabama have been gathering much attention over their time on these shores.

They play a music that is very organic and falls into a roots/traditional folk music arena but with a modern twist. The players are all very accomplished and the interplay is dynamic and energising across a set that lasts 2 hours and displays everything that is unique and compelling about this group.They have two releases to their credit and already the media have been impressed by their melodic songs and the public has been spreading very positive messages, which bodes well for the future success of this excellent band.

The song-writing of Ross Noble is very much based in the stories of everyday life, trying to make it in the big city; meeting a new girlfriend or breaking up with an old one; reflecting of getting older and wiser and just living the days with grace on our journey. 

The harmony singing is of the highest order and the mix of fiddle, guitar, mandolin, suitcase bass and subtle drumming leads for a heady concoction of irrepressible tunes. Playing tracks from both releases, the abiding feeling is that of being in the presence of a band whose time is about to arrive in terms of greater success.

When they play, there is great space in the sound, that allows room for the understated touches of Gram Rea on fiddle, mandolin, harmonica and the fluid guitar playing of Ross Noble to float over the solid rhythm laid down by drummer Greg DeLuca and Ben Leininger on bass.

Numbers such as Oh Susana, Wait For Me, Bad Idea and Kaleidoscope highlight the essence of the band in full flight with plenty of colour in the arrangements. A cover of Atlantic City by the Boss is really impressive and the sweet vocal of Ross really brings the song alive in a way that places a new perspective on the song meaning. 

Ross has a voice that reaches out and touches a space far above the room and just hovers in the air. He also tells a great story and his between - song thoughts about what inspired a particular lyric are full of insight about family ties, relationships and the real stuff of life. 

After a quick break we are treated to a second set that includes Louise, Sensible Shoes, Run On Ahead, City Full of Streets and Too Soon to Say, each song highlighting the joy within the ensemble playing off each other. The encore focuses on two classics from The Band, namely The Weight and The Night They Drove Old Dixie Down, with each member taking turns to showcase their vocal range and talent.  A fine end to a show that confirmed just how good these players really are in capturing the true essence of performance. Watch this band soar.

Review and photograph by Paul McGee

Nikki Bluhm & The Gramblers @ The Vintage Room - Workman’s Club 6th February 2016

The writer’s last encounter with Nikki Bluhn was at The Mercy Lounge, Nashville in 2013 when she and her six piece band played a blinder of a set of west coast country rock bringing to mind the Laurel Canyon sounds of the late 60’s. In complete contrast tonight’s show features Nikki Bluhm play a stripped down acoustic set accompanied by two long term members of The Gramblers, rhythm guitarist Dave Mulligan and lead guitarist Deren Ney.

The gig was arranged impromptu at the end of her European tour which finished in Manchester on Thursday night and prior to Bluhm heading on a solo tour in the States later this month. Mulligan explains that having spent twelve months working in Dublin a few years back he was determined that they should visit the city and take in the great music vibe so unique to Ireland."I had never even heard of Luke Kelly until this afternoon in O’Donoghues Pub, will sure have to do some research on him" he adds excitably.

The gig is staged in The Vintage Room at The Workman’s Club. Aptly described as 'a posh version of your Nana’s living room’, the venue complete with black and white telly, radiogram and 60’s furniture is the perfect location for what can best be described as basically a ‘house party’ type gig with the band arriving with instruments in hand, setting up three chairs at the top of the room and treating us to an unscripted and hugely enjoyable seventy minutes of quality music.

Three musicians, three instruments, two guitars and a tambourine, "basically everything that we have left after the tour" jokes Mulligan. Despite the limited resources the quality of the playing together with Bluhm’s soaring soulful vocal contributes to a hugely enjoyable experience.

The set is a mixture of material from their 2013 self titled album and their more recent Loved Wild Lost release which features a more countrified sound than their west coast based debut album, certainly closer to Nashville than San Francisco. The set also includes a number of covers and to accentuate the 'session' feel of the evening, which also featured a worthy offering from a female in the audience whom they had only met that afternoon. Their signature song Little Too Late works equally well in the stripped back format as it does with a full band and includes some wonderful guitar work from Deren Ney.

All in all a great opportunity to witness the extremely talented Bluhm and her guitarists in a very relaxed and laid back environment. We look forward to a return from her with the full band in the near future.

Review and photograph by Declan Culliton

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