BluesFest @ 3Arena, Dublin 2018

This yearly event has been running since 2013 when London’s Royal Albert Hall was the original venue and artists Van Morrison and Robert Plant were two of the key headline acts. Over recent years the Festival has been extended to include Glasgow and Dublin as cities for the event and this year sees the symmetry of both Van Morrison and Robert Plant headlining on the Sunday night at the 3Arena in Dublin.

FRIDAY

The weekend of great music kicked off on Friday night with performances from Ireland’s Ultan Conlon, followed by guitar legend Steve Miller and band; before the headline act of John Fogarty closed the evening on a real high.

Ultan Conlon played a short set which focused mainly on his recent release, Last Days of the Night Owl. Opening with The Town Square, followed by Fond Memories and Twice A Child, Ultan played with a quiet confidence and his assured vocals won over many new admirers in the growing audience as the night began to take shape. Accompanied by Michael O’Connor on guitar and Dave Curtis on bass, the three musicians played together with an easy style and tempo and the appearance of Mary Coughlan for two songs was an added treat and she brought her own individual stamp to proceedings with her vocal colour on A Weak Heart Like Mine and The Measure.

A quick changeover by the very professional road crews that populated the stage throughout and we were ready for the great Steve Miller, all of 75 years old now, but still rocking out like there is no tomorrow. It was a real pleasure to watch such a consummate guitar virtuoso perform and to witness his impressive style across a range of different guitars over a 90-minute set that included many of his well known hits such as Abracadabra, Space Cowboy, Take The Money & Run, Rockin’ Me and the always impressive Fly Like An Eagle, with its space intro where the wonderful band are allowed to stretch out around the lengthy intro to such a showstopper. 

The encore included The Joker and Jet Airliner both of which had the crowd singing along with gay abandon. He spoke freely about his career and his easy storytelling style which was well received, especially when he gave a brief history concerning the guitars he owns, highlighting a Coral Electric Sitar Guitar (Vincent Bell design), that he purchased for $150 in the 1960’s only to be offered $250,000 for it recently…

Such an enjoyable set with something for everyone and a timely reminder of the huge influence this artist has made on so many of the bands that followed his lead in the 1970’s and 1980’s – not that he is stopping anytime soon; Steve Miller is still a fine talent who continues to burn brightly. His voice is as strong as ever and surrounding himself with musicians of this quality can only be good for everyone who is fortunate enough to catch him live.

John Fogarty follows with an equally impressive band, which includes his son, and he turns in an incredible performance of great stamina as he runs around the stage during a lengthy set that included pretty much every hit in the Creedence Clearwater Revival songbook, plus a few very tasty covers thrown in for good measure. Travelin' Band, Green River, Hey Tonight, Up Around the Bend, Who'll Stop The Rain, Lookin' Out My Back Door, Long As I Can See the Light, Born on the Bayou, Down On The Corner, Fortunate Son are all played to an increasingly fervent crowd who sing and dance to every note. 

It is amazing just how many hits his band had over their career and the legacy lives on with such affection for this artist of 72 years who still sings and moves with such dexterity and ease. The encore included Bad Moon Rising and Proud Mary plus there had also been cover versions of My Toot Toot (Rockin' Sidney), Jambalaya On the Bayou (Hank Williams cover), New Orleans (Gary “U.S.” Bonds cover) and I Heard It Through the Grapevine (Gladys Knight & The Pips cover). He was also joined by his son, Tyler, celebrating his 26th birthday on (Friday 26th)or an energetic and rousing rendition of Good Golly Miss Molly (Little Richard cover) and Psycho (The Sonics cover).

In the band was another son, Shane, who plays superbly on guitar throughout including a terrific trade off with his Dad which proved beyond any doubt that the apple doesn’t fall far from the tree.

SATURDAY

The night started with a set from The White Buffalo, aka Jake Smith and his supporting players, Matt Lynott on Drums and Christopher Hoffee on Bass.

He wasted little time in making an impression with songs like Love Song #1, Go the Distance, Come Join the Murder, Home Is in Your Arms, Joe and Jolene, I Got You, Oh Darlin' What Have I Done, This Year, Into the Sun, The Whistler and The Pilot, all performed with an energy and verve from the trio who really make the most of the 40 minutes that they have been given.

Driven by Lynott (The Machine) on drums and with plenty of punch from Hoffee on bass; the White Buffalo gives full vent to his smoky vocal delivery and rhythmic guitar playing. Eight releases under his belt and well worth your attention. Come back soon.

Next up is a sublime set from the glowing presence that is Alison Krauss. As a keeper of the traditional flame she stands in a special place and her devoted stance to preserving the old traditions of the bluegrass, folk and country heritage is laudable in its passion and scope. Over 90 minutes we are given some 20 plus songs that just pulse with joyful delivery and subtle musicianship of the highest order. The band are a complete joy to observe as they play with understated grace and serve the songs so well. James Mitchell (guitar), Ron Block (guitar, banjo), Barry Bales (bass), Matt Rollings (piano), Jay Bellerose (drums) just knock it out of the park. The beautiful violin playing and vocals of Alison are the cherry on top of this cake that tastes ever so sweet. You can hear a pin drop which is testament to the performance, as the previously noisy crowd realise just how special this performance is.

Sidney and Suzanne Cox also join Alison on harmony vocals and add so much colour to renditions of so many favourite songs. Her set was River in the Rain (Roger Miller cover), I Never Cared for You (Willie Nelson cover), Stay, Forget About It, Baby, Now That I've Found You (The Foundations cover), Ghost in This House (Shenandoah cover), Let Your Loss Be Your Lesson (Little Milton cover),The Lucky One, Sister Rosetta Goes Before Us (Sam Phillips cover), It's Goodbye and So Long to You (The Osborne Brothers & Mac Wiseman cover), Angel Flying Too Close to the Ground (Willie Nelson cover), Didn't Leave Nobody but the Baby (traditional), I Am Weary (Let Me Rest), Down to the River to Pray (traditional cover), Gentle on My Mind (John Hartford cover), When God Dips His Love in my Heart, Walk Over God's Heaven, When I've Done the Best I Can, I Want My Crown, It Is Well With My Soul. Pure bliss from start to finish and a real highlight of the weekend.

Counting Crows are celebrating 25 years as a band and they arrive back into Dublin after a few years since last performing here. The majority of the crowd have been eagerly anticipating this headline act and the energy prior to the performance is clearly evident in the talk and t-shirt displays around the arena. They take the stage with a less than dramatic entrance and their down tempo performance mirrors this laid-back attitude to proceedings. There are of course highlights when everything comes together but a lot of the performance seems unfocused as the ramblings of the past from Adan Duritz labour somewhat across the set. His tendency over the years to portray an angst-ridden, misunderstood thespian wears just a little thin as he faces his middle years and hangs on the nostalgia of a past that can never be relived in reality. There is no questioning his vocal delivery when he is on it, but his too-casual approach to much of the set does nobody any favours. Disappointing, despite the fine band who excel in moments throughout and bring the evening to a close with understated farewells as they leave the stage… 

The set list covered 16 songs and included were:

Mrs. Potter's Lullaby, Angels of the Silences, Omaha, Scarecrow, Miami, Colorblind, God of Ocean Tides, Washington Square, Round Here, Recovering the Satellites, Mr. Jones, A Long December, Hanginaround, Rain King, Holiday in Spain.

Friday and Saturday night reviewed by Paul McGee.

Due to unforeseen circumstances Paul was unable to cover Sunday. So thanks to Ronnie Norton and Joanne Cody for supplying these notes on the evening.

SUNDAY

Through the years I have always found Van Morrison off stage to be distant, reserved, and all in all not the most sociable dude in the world. But close your eyes when he’s on stage or listen to his records and a totally different artist appears. His Dublin appearance copper fastened that opinion for me. He pumped out hit after hit and the fans were enthralled. From the first notes of Days Like This I knew we were on to a winner and once again Van the Musician kept me locked into his dedicated herd of die hard listening fans.

I never was a Led Zeppelin fan. It clashed with my Dublin Folk Boom era. But then we got Rising Sand with Alison Krauss!  However the guy that played the 3 Arena was a totally different performer altogether. This guy hit the ground running and didn’t stop. A very minimal stage set with very effective and syncopated light which matched the moods from start to finish. The band were amazing and as tight as a well tuned Bodhran. Let’s just say I was really impressed and might even grab an album or two of his to fine tune my Robert Plant appreciation.

Ronnie Norton

It being the first time to experience Van Morrison live, I can't compare this with other gigs he has played but I do think we may have witnessed one of his best. He certainly seemed very relaxed and the performance just flowed. There was just one moment where we thought we going to see it all go wrong when he halted a song due to feedback but seconds later all was good again. Again seeing him for the first time, it did feel odd that he doesn’t engage at all with his audience but I think he just lets the music say it all.

Among his set list he played hits like Brown Eyed Girl, Moon Dance, Real Real Gone, and Days Like This. Really feel we very privileged to see this performance and also although he may not have mentioned his band as other artists do but I really have to try and catch him agin

Robert Plant turned it up a gear as soon as he hit the stage. At 70 years of age he still oozes cool! He mentioned early on in the set that this was their last gig in a tour of 70 performances and he really wasn’t sure were they would go next. One thing that was for sure is that it really showed that he and the Sensational Space Shifters decided to make this gig special. 

Robert stated how he has been influenced from his early teenage years by artists such as Buck White, Sonny Boy Williamson and LeadBelly. The music with the Sensational Space Shifters is very much a mix of combining Zep numbers with Robert’s love of the artists above and also the music of North Africa. His set included Black Dog, Carry Fire, Babe I’m Going to Leave You, Little Maggie, Fixin’ to Die, When the Levee Breaks, New World and Whole Lotta  Love. 

The Shifters showed us how it should be done with roaring quitar solos, drum solos, electric fiddle. It was a night where we were witness to musical masters at work and showing that they still have it. I was in awe. 

Joanne Cody

Photography by Ronnie Norton

Thomas Gabriel @ Whelan’s, Dublin - 30th Oct 2018

For Thomas Gabriel, the oldest grandchild of Johnny Cash, this was something of a pilgrimage - to come to Ireland in the footsteps of his grandfather. This included a date in what was the Dreamland venue in Athy, where Johnny Cash had played 55 years ago to the day. In his live show Gabriel pays homage to the legend that is his grandfather and includes many songs associated with Cash. He also includes songs taken from the debut Gabriel album Long Way Home.

He opens the show with Big River, which is then followed by his own song Instant Relief, featuring an extended guitar solo from his guitarist Daniel Toa. Toa was a standout throughout the show giving the Cash songs a different perspective that blended with Gabriel voice, which a has definite echoes of his grandfather’s. They played their version of Fulsom Prison Blues next. It was taken at a much slower pace, which Gabriel mentioned was, for him, more reflective of his ownprison experience. He had served over 7 years in jail. He poignantly noted that he had been let out on a furlough to be a pall bearer at the funeral of June Carter Cash. However, he is now concentrating on his music and putting those darker times behind him, other that recalling them in song. The song Cell was written from the perspective of an inmate and features a slow riff not unlike that in The Rolling Stones Paint It Black.

His rhythm section of Nathan Oxley on bass and Mike Little on drums provided a solid platform throughout that allowed his voice and the guitar to take centre stage. Gabriel did not refer to a setlist, rather he used his iPad to looked at possible song choices as they went through the show. There was no hesitation though from the band who were able to play each choice at a moment’s notice. The songs played from his grandfather’s later albums included Unchained, Rusty Cage and Hurt,which he segued into Everything Must Be Sold - the opening song on his (Gabriel's) album. From Cash’s earlier recordings he played spirited versions ofRing Of Fire and Ghost Rider In The Sky, with another incisive David Gilmore-ish solo from Toa, amongst others in a 20 song set.

After a number of Irish dates, he was having some voice issues to the point of losing his voice after singing Home Of The Blues. Indeed, he had some problems again tonight but recovered well enough to finish the set. This fragility in his voice added some venerability to his song Come To Me. Anyone listening to Gabriel’s voice can be left in nodoubt ofits direct relationship to Johnny Cash. It may not be as deeply resonate but it is still a distinctive instrument. His take on Sunday Morning Coming Down was testament to that.

The show is both a homage to a beloved person and a testament to redemption, suggesting that in the future the show is likely to be less Cash and more Gabriel. However those few who attended the show thoroughly enjoyed both aspects of the show. A show that doubtless shouldhave been enjoyed by many more and once his reputation extends beyond those already acquainted with his music should draw bigger crowds. Again,it is the anomaly of Dublin which for one reason or another seems to be a difficult place to draw an audience of a size worthy of his and other who play here’s talents.

Gabriel closed the show with a rousing second version of Folsom Prison Blues,done this time at the pace of the Cash original. That infamous location was also a place that Gabriel had played on the 50 anniversary of Cash's original recorded show. It is indeed a long way home, but Gabriel is finding his path.

Review by Stephen Rapid  Photography by Kaethe Burt O'Dea

Emily Barker/The Remedy Club @ Cleere’s, Kilkenny 18th Oct 2018

Americana U.K. Artist of the Year Emily Barker literally parked her camper van in Kilkenny to perform at Cleere’s, on her whistle stop tour of Ireland, which also saw her play shows in Waterford, Dublin, Galway, Belfast and Limivady. Joined on stage by the talented Lukas Drinkwater on upright bass and electric guitar, her set covered material from her early career Red Clay Halo days up to her current soulful classic album Sweet Kind Of Blue, which was recorded at Sam Phillips Recording Service in Memphis Tennessee last year.

Concentrating on material from her earlier albums for the first half of her set, she opened with Little Deaths and the title track of her 2013 release Dear River, before performing Nostalgia, the theme song she composed for the BBC TV hit show Wallander. Blackbird from her live 2015 album The Toerag Sessions followed. Despite being somewhat under the weather her stage presence was particularly engaging, with tales of camper van travels and the luxury of a possible shower somewhere on the road. She also joked that she takes some credit for introducing the Father Ted sitcom to some of her fellow Australians while touring there. Whereas Barker's early career output concentrated on the more folk/Americana side of things, her current and delightful album Sweet Kind Of Blue recalls her inspiration and love of soul music as a teenager. The instrumentation and production on the album are phenomenal, not surprising given that it was produced by Matt Ross-Spang and included the cream of Memphis session players on the recording. Performing the material from the album stripped back may have presented a challenge but she rose to the occasion flawlessly and passed with flying colours. Performed in succession were No.5 Hurricane, the simply divine Sister Goodbye- dedicated to the Godmother of rock and roll Sister Rosetta Tharp - and equally impressive Over My Shoulder– co-written with Boo Hewerdine and inspired by the horrific newspaper image of a dead refugee child face down on a beach. She also included More! from the same album in its initial stripped back format, a dreamy slow version before it got ‘souled and Motowned up’ in the studio for the catchy album version. 

She closed the show with Anywhere Away,which she wrote for Jack Gavin’s film Hector and the gorgeous Precious Memories and The Blackwood from her Red Clay Halo days. The evening was further evidence of the limitless talents of Emily Barker, a young lady always prepared to challenge herself and never likely to stand in the same musical spot for very long.

Opening act, The Remedy Club are no strangers to Lonesome Highway or indeed to Cleeres’s, where they performed their own showcase gig only a few weeks previously. Husband and wife duo Aileen Mythen and Kieran McEvoy have been impressing us at Lonesome Highway over the past few years, establishing themselves as the leading exponents of Americana in Ireland. They met with Emily Barker while performing at The Americana Awards U.K. earlier in the year and were invited to support her on this tour. The perfect act to warm the crowd up in the cosy intimate setting, their set included Listenin’ To Hank Williams, When Tom Waits Upand a rousing finale of Big Ol’ Fancy, all from their current album Lovers, Legends and Lost Causes. 

Review and photographs by Declan Culliton

Kimmie Rhodes - Irish Tour 2018.

This artist has been visiting Ireland on a regular basis for a number of years now. Playing small venues around the country does not really do her justice, given her proven pedigree in the music business over a career that has spanned a few generations since her introduction as a real talent back in the early 1980’s.

This short tour is in support of her recent book, Radio Dreams: The Story of an Outlaw DJ and a Cosmic Cowgirl. It is a duet memoir and filled with great stories of a life spent together with her soulmate Joe Gracey who sadly died in 2011 after battling cancer over many years. 

The tour has dates in Rathfriland, Ballyboffey, Armagh, Lisburn & the Naul in north county Dublin. My journey takes me to a house concert in Rathfriland, plus the experience of the final gig at the Seamus Ennis Centre at the Naul.

Kimmie plays from a setlist that covers many of her 16 releases to date and she also allows herself creative licence to deviate away from this as the mood dictates. Joined by her incredibly talented son, Gabriel on guitar, the duo creates a very engaging and homely atmosphere with stories from the road and beyond. Kimmie is a natural storyteller and raconteur and her lengthy song introductions and back stories are equally as fascinating as the songs themselves. 

Drawing from the memories of a music scene that developed in Austin in the late 1970’s, Kimmie regales both audiences with her tales of meeting and being mentored by Willie Nelson. Her husband Joe Gracey was a much-respected singer and DJ before he lost his voice to cancer, only to turn his hand to studio production and working closely with Willie Nelson as part of both family and friends.

The songs include some carefully selected covers such as Buddy Holly (Raining In My Heart), Donovan (Catch The Wind), Townes van Zandt (White Freight Liner) and a new song yet to be recorded, Radio Dreams, to accompany the book.

Old favourites such as Love & Happiness, a song she wrote with Emmylou Harris, sit comfortably alongside Love Me Like A Song, a track she recorded with Willie Nelson.

Windblown is a song about her father and his colourful life, whereas Bells Of Joy celebrates an old Gospel band that she used to admire back in the early days. Just Drove By is the longest song she ever wrote, taking her a number of years to finish, but it captures everything in terms of family relationships and our changing feelings as we move through life.

God’s Acre is about coming home to be buried with those you love and the strength of family ties while Walls Fall Down references the present tensions in the USA and is an old song that has suddenly taken on new meaning with the turn of events there. 

Contrabandistas is a tex-mex workout that highlights the real craft of Gabriel on guitar as he soars and swoops around the rhythm laid down and delivers quite a performance. 

At the Naul, Kimmie sings 2 songs from different perspectives; one, Don’t Leave Me Like This, a bitter memory of the death of Joe Gracey and the other, Yes, a statement of intent in getting back into the light and living again.

House concerts are not really a big thing in Ireland Just yet but increasingly it appears to be a way of finding an intimate space where the artist can perform at controlled costs in the hope of making a profit and the sales of some merchandise. Rathfriland is a beautiful location and a very healthy crowd turn out to support our host Andy and to pay special tribute to the wonderful performance that is delivered.

The Naul is also an intimate setting and tonight there is a new soundboard to be tested – it passed with flying colours. A very attentive crowd sing along to the songs that they know and both performers give everything to that feeling of being in the moment while the magic of live music occurs.

Two excellent nights, spent in great company and you really must catch this superb artist on her next visit to our shores in 2019.

Review and photo by Paul McGee

AMA Report by Declan Culliton

Searching Out Country Music at Americana Fest 2018

It’s necessary to do a bit of digging to uncover what I consider ‘real’ country music these days. Robert’s Western World on Broadway in Nashville is a sure bet for the purist among us and with over three hundred acts performing at Americana Fest 2018, you’re guaranteed a decent representation of acts keeping that flag flying. Six acts in particular impressed and ticked the Lonesome Highway "real country is alive and kicking box." 

Jaime Wyatt at 3rd & Lindsley

Resembling a young Lucinda Williams in both appearance and sound, the striking Californian outlaw artist’s gig drew in the main material from her current album Felony Blues. Recalling her former years as a hell raiser - she did a prison stretch for robbing her drug dealer - Wyatt and her equally tight band delivered a storming set with full on numbers like Wishing Well and Wasco impressing every bit as much as her dreamy delivery of Merle Haggard’s Misery and Gin. Wyatt is the real deal, an artist with the ability in her writing, delivery and stage presence to make giant career steps. She sings from the heart, with pain, emotion and healing oozing from her every word. A festival highlight for those lucky enough to have caught her at 3rd& Lindsley.

Pat Reedy and The Longtime Goners at The Vinyl Bunker

The location for Pat Reedy’s set was a small vinyl record store located in the office of an underground car park. Not the most salubrious of rooms perhaps, but Reedy’s not the type of artist that’s going to grace the stage of The Grand Old Opry. He’s been touted as the most likely ‘country’ artist to follow in the footsteps of Joshua Hedley by making a name for himself way beyond Nashville. His appearance is that of someone that just drifted in from an auto store having spent the day changing tyres. With a three-piece band consisting of a recently acquainted Scandinavian pedal player, drummer and upright bass, he played two short sets of material mostly drawn from his recent release, the wonderfully titled That’s All There Is And There Ain’t No More. A former busker and construction worker, Reedy is the real deal, no frills, dirt under the fingernails and he dished out the perfect mid-afternoon set of raw and ragged country tunes. 

Jason James at Acme & Seed

Having played a solo performance at the same venue at the festival a few years back, James’s return with a full band was a joy to behold. The opposite side of the coin to Reedy, James is immaculately turned out, his appearance more George Jones than Willie Nelson and his performance was equally impressive. Playing to a large - and talkative- audience, it didn’t take long for him to silence them with his smooth Texan country sound, at times sounding like a young George Jones and helped in no small measure by his very impressive band. The new material on offer - to feature in his early 2019 album - sounded every bit as impressive as his 2015 self-titled album, using the same formula of traditional Texan country music, delivered with his silver-tongued southern tones. His signature tune Here Comes The Heartache and the honky tonkin’ I’ve Be Drinking More were standouts.

JP Harris at 3rd & Lindsley

Previous appearances at the festival had seen JP Harris play to smaller crowds at less spacious and less impressive locations, so it was a blast to see him and his entourage - which totalled ten at one stage - given the chance to play one of the larger venues. The stage at 3rd & Lindsley is one of the larger ones at the festival and Harris ensured that every square inch of it was put to use. His band featured guitar, bass, drums, pedal steel and keys with additional backing vocals courtesy of the Watson Twins and Kristina Murry. His set drew on material from his new album – officially released that day - including the title track Sometimes Dogs Bark at Nothing and When I Quit Drinking, alongside the crowd pleaser Give A LittleLovin’.Harris is not only a killer performer, he’s also a staunch supporter and promoter of emerging artists – in particular female East Nashville acts – often investing as much time in pushing them to the fore as he does in self-promotion.A rocking set from an artist that – were there any justice in the music world - would be a household name in country music. 

Mike and The Moonpies at 3rd & Lindsley

With the perfect mix and twang, honky tonk and boogie, Mike Harmeier and his five-piece band were the ideal act to close off the Evenings showcases at 3rd & Lindsley. Living up to their reputation for delivering full on high octane sets with a forty-five-minute onslaught of material that transformed the room into a Texas Dance Hall. Drawing in the main from their recent album Steak Night At The Prairie Rose they accelerated through Might Be Wrong, Getting High At Home and Beaches of Beloxi at breakneck speed. A "send them home sweating and smiling" set of fun music!

Colter Wall at The Station Inn

One of the names on many people’s lips as the emerging young artist on the Americana scene of recent years, the 23-year-old Canadian nabbed a prime slot as the closing act at the revered Station Inn on the night of the Americana Fest Award Show. Playing out like a veteran, he mesmerised the full house with a spell binding stroll through his breakthrough self-titled album with the superb Me and Big Dave and Kate Mc Cannon bringing the house down. No mean guitar picker himself, the addition of a full band elevated his stripped back baritone vocals to another level. A memorable show!

Review and photography by Declan Culliton

AMA Report by Paul McGee

AMA Music Festival, Nashville - September 11th -16th 2018

The annual festival and conference to put all others into the shade. 

Americanafest, now in its 17thyear, is spread across 50 venues over 6 days. Add a lot of music industry discussion groups and panels, afternoon showcases, label parties, BBQ’s and shindigs – followed by the evening fare of artist and band listings; typically, 4 to 5 acts at each venue that run into the midnight hours. Exhausting and exhilarating!

There is an award show that brings together the great and the good of Americana music at the famous Ryman auditorium, but the real essence of the festival is the sense of community, camaraderie and fellowship that can be embraced all over the city in many forms, as many music fans get to meet old friends and form new connections.

The choice of music is like being a kid in a sweetshop, with the similar frustration of not being able to sample everything. Choices must be made and inevitably bands missed along the way. However, there were so many moments to inspire;

MAKING A NAME

Two acts that are gingerly stepping their way through the minefield that is a sustainable career in this music game are My Politic and Arkansas Dave.

My Politic is a 5-piece band, now living in Nashville, who play expressive roots music around the creative hub of Kaston Guffey and Nick Pankey. Fiddle, dobro, acoustic guitars and harmonica merge into an organic sound, topped off by the high energy performance of band leader Guffey.

Arkansas Dave is entirely different and delivers a performance of soulful blues that is hard hitting and quite compelling. His band deliver passionate playing across driving workouts in an impressive set.

STAYING THE COURSE

Diversity in music is everything that makes it great and the attraction of the celebratory, soulful sound of Birds of Chicago sits in contrast with the mellow, reflective style of Erin Rae. Both deliver stellar sets as they continue to hone their craft and build upon careers that are flourishing and moving forward at a pace.

Birds of Chicago have great songs and the key element of interplay between joint-lead performers, JT Nero and Allison Russell. Erin Rae has a calm and restrained stage presence as she gently coaxes her band to higher performance levels in what can be described as dreamy soundscapes on top of which her soothing voice glides.

RISING HIGHER

The impact of breaking stars can never be underestimated as pressure is brought to bear on the existing status quo and order of things. Rightly so, as all things must be subject to change.

Courtney Marie Andrews is a performer who has developed into quite a star with her strong work ethic and some killer songs. Her band is really tight and they play in support of a vocal performance that is highly impressive. Her career is going in one direction only and her powerful talents bear witness to this.

The Lone Bellow are another act that continue to find accelerated momentum around their increasing media buzz. 

They perform here as a 3-piece with a single stand-up microphone, an acoustic guitar and a mandolin. Their vocal gymnastics and harmonies are an absolute treat to witness as they play a compelling set of songs from their 3 releases to date.

THE OLD ROAD WELL-TRAVELLED

Artists such as Emmylou Harris, Mary Gauthier, Eliza Gilkyson, Richard Thompson, John Hiatt and Kim Richey have seen it all before and show their durability and experience while appearing at a number of venues over the festival. 

Far from burning out and fading away, they display an energy that far belies the advances of old father time. Playing songs from new releases, plus dipping into extensive back catalogues, they excite all who witness their powerful presence. They also show no fall in their vocal prowess as performers and continue to display  an easy stage presence that has been earned over time and travel.

HAPPY TO MEET

Whether unknown or just unheard, there are so many acts who win over new admirers and indeed, make up the major part of this festival. Always a pleasant surprise to discover new talent that delights.

Sons of Bill are such a band. They have been around since 2006 releasing albums and are led by the 3 Wilson Brothers. They have a vibrant roots rock sound that is exciting and very engaging.

Samantha Fish plays blues guitar in an incendiary style that fires her song arrangements into orbit and her band create a big sound with warm organ swells, horns and rhythm section to fill out the performance. 

Jaimee Harris played a fine set at the Campfire propaganda day party and Ana Egge also captured the room at the Proper Music Party, along with Ben Glover who closed the event.

Other acts worthy of mention were Neighbor Lady, Mike Farris, Walter Salas-Humara, Tom Freund, Ordinary Elephant and Ladies Gun Club.

SORRY TO PART

All goods things must come to an end and the gathering of friends for Sunday Morning Coming Down provided a gathering of gumbo and good times. The wonderful JP Harris was hosting this event and his generous spirit was evident throughout as he highlighted other artists as well as playing a superb set with his own band. We were treated to the perfectly aligned vocal performance of the Watson Twins and an exciting set from the ever- impressive Elizabeth Cook. 

SPECIAL MOMENT

There were so many of course, but perhaps the one that sticks out and epitomises the festival spirit more than anything else was the Lone Bellow playing on the sidewalk to the line of fans who were unable to gain entry to their sold-out gig at The Station Inn. They delayed their show in order to ease the disappointment of the crowd outside and turned in a 3-song performance that was quite something.

ENDURING MEMORIES

Hearing about a late-night gig at the 5-Spot that led to my finally seeing an old favourite of mine perform live – Webb Wilder. He played a set that was packed with superb craftmanship and electric moments as his crack band turned out performances that made for one of those special nights; a crowded bar, plenty of high & hot energy and smiles all around. Also, meeting Tim Easton and seeing him play again after many years. A seasoned songwriter who continues to produce music of the highest quality. Equally as important was my reunion with Walter Salas-Humara and his unique talents. Founder member of the legendary Silos, he has lost none of his sparkle and the songs are as sharp as ever.

CODA

This was my first trip to the AMA festival but it will not be my last … It is addictive in all that is offered and delivered, in a setting that is just perfect. Music City USA lives up to the name and there is also much else to see and do, outside of the music. Definitely a Bucket List recommendation.

Review and photography by Paul McGee

Ed Romanoff @Whelans, Dublin - Wed 19th Sept 2018

Ed Romanoff was pleased to be in Dublin, or maybe just to be on solid ground after a short flight from Amsterdam turned into something a marathon journey that included a quick visit to Shannon. All due to the breathy interjections of Hurricane Ally. However he was genuinely pleased to be in Ireland for a number of dates to help him embrace his Irishness.Throughout the tour he is being ably supported by the esteemed Clive Barnes whose guitar playing adds much to the overall enjoyment of the songs played. It was clear to see why Mr Barnes is in such demand as a sideman and why he is a compelling artist in his own right.

The songs were mostly from his recent and rewarding album 

The Orphan King

. As is his want Romanoff prefaced each of the songs with a story or reflection on the origin of the song.

The Night Is A Woman 

was his approach to a Van Morrison style romantic ballad, he informed us, while noting that most people hadn’t a clue as to what it was about. Much more definite was the inspiration behind 

The Orphan King

. A song co-written with Mary Gauthier who Romanoff took a DNA test with and discovered he was essentially Irish, his birth father being 100% Irish. As he was adopted into a loving Russian family, he set about trying to contact his Irish father once he discovered his existance. This included the hiring of a number of prover detectives to try and find him, however they never discovered any trace.

Many of his other songs are based on real characters, and his research into their backgrounds and histories often formed the basis of his writing for this fact based material. 

Elephant Man

 is about Joseph Merrick who he imagined finding a female companion to share his life. 

The Ballad Of Willie Sutton

 concerns the bank robber who died in 1980. He was an Irish American who became a bank robber of repute (Making number 11 on the inaugural Ten Most Wanted FBI list). It recounts the part of his life and times preceding his release from Attica State prison on parole on Christmas Eve 1969. Romanoff incorporates much of this detail in his incisive writing. He writes both solo and with a co-writer. Many on the most recent album are written with Crit Harmon.

Romanoff also tells the audience that he only really started to become a writer after the age of 40 and never really thought of himself as a singer, recalling that his (adoption) father was tone deaf and he considered himself the same. He humorously noted that he was advised that it might be best if he mouthed the words of the songs

, by the leader of his school choir. However Romanoff is a much improved singer now and able to deliver his songs with a certain conviction. He would never consider himself a great vocalist but, similar to singers like John Prine, one who is able to deliver the song despite any limitation of his vocal range.

Playing acoustic guitar and sometimes adding a beat with a foot pedal he blends this with the atmospheric guitar of Barnes to create something that is effective and entertaining. Barnes played a couple of full on solos that enhanced the dynamic of the offering. Humour is ever present despite his noting that many of these songs hit the down elevator in terms of mood, but do so within the realm of optimism. Luan Parle joined the duo onstage, adding her exquisite vocals to several songs including a version of Springsteen’s 

I’m On Fire

 sung by Clive. For a couple of numbers Romanoff also calls folk-singer Peter Doran to the stage and they all join in on 

Blue Boulevard (Na Na Na)

. 

Romanoff was called back by the small but attentive audience for a two song encore. The first solo then he was joined by Barnes on his big silver Gretch for the final songs which also saw Parle and Dorian returning on the stage to end a satisfying night.

Review by Stephen Rapid   Photography by Kaethe Burt O'Dea

UAFP 27th Annual Bluegrass Festival @ Omagh - 2018

The stages have been dismantled and the sound equipment packed away after another exciting music festival in the Ulster American Folk Park, outside Omagh in N Ireland (31/08 - 02/09/18). Once again we were treated to a world class lineup of not just bluegrass acts but also old time, folk and cajun bands from the US, Europe and Ireland.

Lonesome Highway sent their two intrepid reporters along - myself and photographer/broadcaster Ronnie Norton as always, to report back on proceedings. We certainly were not disappointed.

Worthy headliners were the Darin & Brooke Aldridge Band from N Carolina, who were on their first visit to the country. Both are multiple IBMA & SPGBMA nominated - Darin for his guitar flat picking and Brooke for her vocals, and they showed us exactly why! They are interpreters of both bluegrass and country standards and more modern songs from other genres - all of which are given their own twist while remaining true to their bluegrass roots. Among the stellar musicians in their band was the impressive 21 year old fiddle player Carley Arrowood, also IBMA awarded.

Despite their youth, the band are quite obviously road veterans and they tear into their sets with no time wasted. Songs like Neil Young’s Powderfinger and pop covers are interspersed with old country classics and a yodelling song which the punters were encouraged to join in on, with varying degrees of success. Carley Arrowood showed that she’s not just a phenomenal fiddle player by taking the lead vocals on one of her own compositions. There are many gospel songs included in the sets, one of the highlights being Darin’s rendition of their friend Vince Gill’s Go Rest High. Darin and Brooke demonstrated their gorgeous vocals on several country duets, including the moving Corn, and the Everlys’ Let It Be Me. Darin’s long guitar intro into WayfaringStranger is truly psychedelic (a nod to his former life with Acoustic Syndicate, perhaps) and their rendition of this oft covered classic is one of the best versions I’ve ever heard. The whole band were quite clearly delighted to be here and endeared themselves to the large audiences at each of their three sets throughout the weekend.

Mike Compton & Joe Newberry entertained, moved and educated their eager audiences in equal measure throughout all their many sets during the festival. Those who are particularly interested in the roots of the music had the opportunity to attend the informal McInterview, hosted by the indefatigable festival MC Frank Galligan, where we enjoyed anecdotes from the legendary duo’s early lives in Mississippi and Missouri, and their subsequent musical journeys. Mike (mandolin) has played with Bill Monroe, John Hartford and later the Nashville Bluegrass Band. They treated us to songs from Gaither Carlton, Doc Watson, Big Mon and the Mississippi Sheiks.

Such is their vast repertoire that very few of their songs and stories were repeated over the course of their performances.

Midnight Skyracer are an exciting new band made up of five young women from N Ireland, England and Scotland. They have just been nominated for two IBMA Momentum Awards and after this, their first Irish appearance, they will be hot footing it to Raleigh in NC for the awards ceremony. Impressively, apart from their instrumental prowess across the board, most of their set is comprised of original songs, written by all five members. And they can all sing, to boot!

Natural band leader is Leanne Thorose, with her lightning fast mandolin playing and powerful gutsy voice. Eleanor Wilkie is impressive on bass, and when she takes the lead vocals on her own composition High and Dry.Our own Armagh banjo player Tabitha Agnew needed no introduction to the home crowd, but her banjo playing has amazingly continued to go from strength to strength. Then there are the twin Carrivick sisters: Laura is equally at home both on fiddle and dobro, while Charlotte wowed us on guitar. Their set is dynamic and fun, and their multiple harmonies are close and sweet. Carrie Hassler’s I’m Going On The Next Train was one of the highlights of their sets for this reviewer.

The Allen Family Reunion were a revelation on their first and hopefully not last trip to N Ireland, home to some of their ancestors. Comprised of two generations of this Ontario family, they entertained and amused their audiences with their musical chops, their warmth and their humour. Mandolinist/fiddle player John P Allen is well known in their native Canada and further afield as a member of the country band Prairie Oyster, although he doesn’t make a deal about it.

Demolition String Band have been here before and are quite familiar to Irish audiences. This time North Carolina based Elena and Boo were joined by Galwegian upright bass player Sammy Rohan, who did a stalwart job of keeping up! The band specialise in breakneck speed versions of songs as diverse as Madonna’s Like A Prayer (I kid you not) and John Prine’s Paradise (Mr Peabody’s Coal Train). Olabelle Reed and Jim & Jesse covers are introduced to the audience, some of whom may not be familiar with the broad range of country, folk and bluegrass artists that the duo love to evangelise about. They are so well admired that Woody Guthrie’s sister Nora asked them to write music for some of the treasure trove of Woody’s lyrics recently uncovered and they treated us to two of these.

Belgian/US Americana/folk band Old Salt were also making their first appearance at Omagh and it quickly became apparent why they won a European World of Bluegrass award in 2017. Led by American Daniel Wall (clawhammer banjo), they are a whirlwind of bluegrass, folk, jazz and old time influences, all delivered with a dynamism and a respect for the tradition. Ghent musicians Lotte Remmen on fiddle, Lara Rossellini on upright bass and Johannes Wannyn on guitar were able partners in crime in the current collective’s line up - their sets were broad ranging and their musicianship was tight. They performed many traditional songs and tunes, but made them their own and they explained the provenance of most of their choices. Both Lara and Lotte have built on their classical training to produce a lush string sound and the band’s harmonies were flawless. About to release their second album, we hope they will be back soon.

Whiskey Deaf, the old timey duo from Portland, Oregon were welcomed back with open arms after their first visit here in 2015. John Kael (guitar/banjo) and Annie Staninec (fiddle) have a huge repertoire of old time and bluegrass tunes and songs and their quiet enthusiasm for the history of the music was infectious. 

Fellow Pynins (US) performed their delicate blend of folky old timey songs which reflect their deep interest in nature and the land. Perhaps their repertoire just wasn’t big enough to handle the five sets spread over the weekend, but their songs and stories didn’t stand up to repeated listens.

Northern Ireland was well represented with sets from the ever popular Northern Exposure (who have expanded their repertoire with the addition of fiddle player Brendan Henry), Broken String Band, Geordie McAdam and the recently expanded Henry Family Band. While Janet Henry was promoting her well received new album Going Home, she and her dobro playing husband Colin were in danger of being upstaged by their children - James, who is fast becoming a banjo player of note, and Olivia who is possessed of a most wonderful pure voice just made for folk singing!

Eilís Boland

Athy’s Godfather of Bluegrass Tony O’Brien with his legendary Woodbine and local Omagh hot shot superstars the “CoolHand String Band” graced the stage and braved all the elements in the Log Cabin Field to give us a full spectrum coverage of Bluegrass to suit all ages and tastes. Woodbine as expected were a little more rooted in tradition, and much loved for it, while the Cool Hand String Band on their first visit to the Folk Park brought a vibrant and young approach and a clear indication that our choosen music is safe in the hands of the next generation. They even, “Lord Save Us” brought the open air crowd screaming to their feet with a blistering version of

Wagon Wheel

.

As photographer to the festival for the past "not so few" years I’ve managed to meet most of my Bluegrass heroes in what has to be the most relaxed and crowd friendly athmosphere possible for musical visitors. With seven stages and venues available I certainly got my cardio workout done over the weekend strolling the length and breadth of my favourite venue world wide for a musical festival. I’ve listed all the bands that appeared and are included in these above two collages more or less in the order that I encountered them. My heartfelt thanks goes to all the performers for their tolerance of the lurker with the long lens and all, and I really mean all of the staff at the Ulster American Folk Park for taking me into the family and creating the highlight of each Bluegrass year for me.

The Bands as I met them were Mike Compton and Joe Newberry, Whiskey Deaf, The Demolition String Band, Old Salt, Old Baby Mackerel, Broken String Band, Allen Family Reunion, Northern Exposure, The Henry Family Band, Fellow Pynins, Geordie McAdam, Midnight Skyracer, Eilidh Patterson, The Cool Hand String Band, Darin and Brooke Aldridge, Two Time Polka and Darin and Broke Aldridge, who once again were back for their spine tingling Gospel Concert in the Meeting House to wind up a really memorable weekend.

Roll ON 2019

Ronnie Norton  

Photography by Ronnie Norton

Gretchen Peters @ Liberty Hall, Dublin - 7th Sept 2018

In trying to review a concert from such a special talent, what was shared across the 90 minutes will always lead to thoughts of what was left untouched. The problem for Gretchen Peters is having a body of work that includes so many favourites and so little time! I guess it all comes down to the feeling that it’s not what you leave out, but more what you leave in…

What we do get is a beautifully balanced performance with superb musicianship from the talented band that comprises Barry Walsh (accordion, keyboards), Conor McCreanor (Electric & upright bass), Colm McClean (guitars) and Gretchen herself on acoustic guitar. The understated playing is so beautifully realised, always serving the song and adding just enough interplay to allow for the spaces between the notes. Also, the harmony vocals are very strong and augment a vocal performance from Gretchen that shows her voice to be in superb shape, singing from the heart in a honeyed tone that seduces and soars in all the right places...

The set tonight leans heavily towards the latest release, Dancing With The Beast and this is fully justified. It remains one of the best albums of 2018 and the current tour is in support of this release. Eight of the eleven album tracks are featured during the show with Truck Stop Angel, The Boy From Rye, Arguing With Ghosts and Disappearing Act all coming from very different places but connecting so poignantly; from surviving in a male dominated World to the loss of innocence and youth; ageing and Alzheimer’s - all the way through to taking the decision to disappear from it all.

Gretchen speaks of living with these new songs on tour over recent weeks and says that they have become a supporting band of sisters that accompany her on the road. The new album features songs about females in all different guises and situations, whether dealing with abuse or disillusionment or  deciding to take action and control over their own circumstances.

Fragile, yet strong women, some from the margins of society – others the real backbone of middle America in grappling with the reality of trying to rear a family and try to scrape a decent living in a country that has turned mean and spiteful. 

The references to Trump’s America are veiled behind the stories of the characters in these songs and the ability to endure and maintain dignity is captured with razor like precision in the poetic words of Gretchen as she holds a mirror up to daily constraints and compromise.

Say Grace is a key track tonight and the words, ‘the bible on the table says be of good cheer, but the tv in the corner is screaming you’re not welcome here’, resonate as an echo of the malaise within American society right now. Another key line is contained in the words to Lowlands with ‘but a man who lies just for the sake of lying, he will sell you kerosene and call it hope’. 

Such a vital and honest writer and so much on the pulse of everything that is real.

She speaks of the division and suspicion that was instantly present after the General Election result and the caginess of people wondering which side others were now on… All reflected in the song, Lowlands.

The Blackbirds release from 2015 gets 2 songs included, with the title track itself and the excellent When All You Got Is A Hammer. There are a further 4 songs from the 2013 release Hello Cruel World and the audience greet Woman On The Wheel, Five Minutes, The Matador and Idlewild like lost children returned to the fold.

Earlier in the set there is a Tom Russell song, Guadalupe, which was recorded on their co-release from 2009 and which Gretchen reckons is his most beautiful song. She talks about her coming to Ireland since 1997 (or so) and the fact that her visits are forever wrapped up in memory with the song, On A Bus To Saint Cloud, which she duly performs with a flawless melancholy that would melt the heart of the hardest cynic in the room.

The encore is another cover version, this time the Rodney Crowell song Ain’t Living Long Like This. It includes an extended band workout and a duel between Barry Walsh and Colm McClean as they trade licks and runs on their weapons of choice. At one point, Barry even plays the keyboard with his right foot! 

With the audience giving a standing ovation and fully deserved lengthy applause, Gretchen returns and leaves the stage to stand in front of the crowd to sing Love That Makes A Cup Of Tea. A perfect message of comfort and fellowship upon which to end what was a fine evening of all that is good in live music these days. A masterclass from one of the true greats. 

Review by Paul McGee   Photography by Ronnie Norton

Brent Cobb @ Whelan’s, Dublin - Tue Sept 4th 2018

Tonight,Cobb returned to play Dublin and this Whelan’s gig was entirely different from his last gig which was at the Bello Bar in May last year. He had his band with him this time around, excluding the keyboard player, who was unable to make the trip. The three band members made an immense contribution to the music throughout the show. So, special mention to Mike Harris on guitar, Jay Kott on bass and Olajuwon Jackson on drums. They could be as heavy or light of touch as the song required. Something that distinguished them from other bands whose southern style rock often became heavy metal in the live setting. 

Brent Cobb was an engaging front-man who was full of chat and stories, in fairness something he said he would be from the start. At times it was difficult, for this listener anyway, to catch all of the tale with his Southern Alabama drawl. But enough was deciphered to catch the general drift and to enjoy what was being imparted. For the last few weeks the band had been playing short sets opening for Chris Stapleton and Marty Stuart and the Fabulous Superlatives. So,this show gave them the opportunity to stretch out for the first night of their European tour. The set featured songs from Cobb’s recent Elektra/Low Country Sound albums.

There were two support acts on the night with the first, Sands & Hearn, from Cleveland, playing songs from their debut album that was given a big thumbs up at Lonesome Highway. The duo offered sweet harmonies and insightful songs, including American Mind, Crazy Carl, Bus To Abilene and the title track, Time Is A Line. Given their recent arrival in Dublin and the onset of jet lag, they performed their short set with plenty of energy and spirit.

Zack Logan,a Mississippi based country singer,was next up. He was accompanied by a fiddle player and bassist from London who he had only just met. They had learnt the songs from his debut CD, Raised By Wolves, in advance and they did add to his overall delivery. Logan is not yet totally comfortable on stage or else comes across a little shy and had little in the way of easy stage patter with the audience other than allowing that the beer and shots were good. But he had a strong voice and some good songs, including Annalee, Dogs Chase Cars, I’m Coming Home and the title track, Raised By Wolves. Definitely one to watch.

The same cannot be said of Cobb who showed an engaging character and humour throughout the show. The songs were taken largely from Cobb’s recent releases,(Shine On A Rainy Day and Providence Canyon). Dave Cobb (his cousin) produced both albums. One of the songs, King Of Alabama,was dedicated to the late Wayne Mills who was murdered in tragic circumstances and the song, he related, included a writing credit for Mills' son Jack (aged ten). A gesture that seemed very much in keeping with Cobb’s natural empathy and understanding. There was also a highly energised version of Dwight Yoakam’s Guitars, Cadillacs And Hillbilly Music which worked a treat amid his own material. 

There was an obvious empathy between the players and a sense that they were enjoying themselves as much as the audience. Many of the songs were extended and gave Harris a chance to display his skill on Gibson SG, Telecaster and Stratocaster. Particularly some atmospheric slide guitar. While Jackson and Kott underpinned everything with some weighty and dexterous drums and bass. All in all, this four-piece, with Cobb on effective acoustic rhythm guitar,were firing on all cylinders. Cobb did try an electric guitar for one song but said it wasn’t really his instrument and switched back to his trusty Gibson acoustic.

Although the audience was not big in numbers they enthusiastically responded to what they heard. The band didn’t show any disappointment with the sparse attendance and gave a fully-fledged performance including a reluctant encore at the end as Cobb said he disliked false encores where the best songs are saved for such an ending. Whatever the reason it capped a great night of music that leaves one hoping for a return visit in the near future. C2C perhaps?

Review by Stephen Rapid & Paul McGee  Photography by Kaethe Burt O'Dea

Jim White & Clive Barnes @ Whelan’s Dublin - Sun 26th Aug 2018

An artist that can truly be defined as one of a kind. Jim White has a portfolio of six solo records and a number of collaborations since he first appeared on the radar back in the 1990’s. His wealth of life experience is drawn from stints as a professional surfer, comedian, fashion model, cab driver, boxer, preacher and any variety of other jobs such as dishwasher, landscaper, lifeguard, cook, road builder.

Somewhere along the line, he developed as a self-taught musician and has gone on to produce records and had his songs feature in such TV shows, such as Breaking Bad and Rectify. He also exhibits in art galleries and museums across the US and Europe and writes fiction.

As a singer-songwriter, his observational tales are drawn from real life experiences, insights on the human condition, ruminations on the propensity of mankind for self sabotage and a whole bag of other flights of fancy that find their way into his idiosyncratic view of our attempts to make sense of life on this mortal coil.

His live shows are as much spoken word as they are about the music, with the stories behind each song coloured by his wonderfully incisive wit and penchant for the bizarre in the details of each experience. His life has been lived on the edge and this is reflected in his championing of those fated to live on the margins of society. Ironically, we are left with the inescapable truth that the real bums, thieves and villains are living within the social norms of society and responsible for building up the very walls that keep the disenfranchised and fragile souls on the outside. 

His generosity of spirit is shown in the simple fact that he auctions his performance shirt each night at the shows and gives the proceeds to the ‘doctors without borders’ charity. Tonight, his fine blue shirt made €80 as a member of the audience won the stage-side auction after the gig.

The set list is taken from all his releases with five of the songs featured on the latest release from 2017, Waffles, Triangles & Jesus. The other releases get a few songs each and there are two tracks included that he has yet to record. The topics cover his daughter (Bluebird, Sweet Bird Of Mystery), death/murder (A Perfect Day To Chase Tornados, Objects In The Water, The Wound That Never Heals), gimmick songs (Playing Guitars), lives on the edge (A Felony Report Song, Handcuffed To A Fence In Mississippi), relationships (Epilogue To A Marriage), survival (Here I Am, Chase The Dark Away, Prisoner’s Dilemma) and just being alive in the present (Silver Threads, Wonders Never Cease). These are moments of treasured insight, reflection and just great fun. 

Clive Barnes supports on acoustic and electric guitars and performs to his usual high standard of interpreting the songs and embellishing them with a sensitive and restrained dynamic in his delivery. Clive also sings a song of his own, Down To The Crossroads, with Jim sitting in on harmonica, which he plays on a number of other songs to great atmospheric effect in a ‘less is more’ way.    

Jim describes himself as a Pantheist and whatever about trying to identify God in nature, Jim states that writing songs is like therapy for him and that they should reflect who you are. If a great record results from this process then that is a bonus along the way, but it should not be the reason for writing. This was a warm, wonderful evening of songs born from a unique talent and vision. Intimate setting and inspiring to witness it all.

Review and photograph by Paul McGee

The Lone Bellow @ Whelan’s, Dublin - 23rd August 2018

There are special moments that linger in the memory and remain, over time, even if we can never fully do justice to their elevated place and presence in the recounting.

Experiences that warm the soul and ensure that we continue to believe in the power of music to heal the spirit and lift the collective to a place of elevated awareness. Call it spiritual or just a bloody good night of spontaneous connection; all that seems important is the sense of community in being present at an event where something special happened.

Tonight, was one of those moments. When you marry a capacity crowd with a band whose power is at a creative peak, then the sprinkling of angel dust is palpable in the room and all are touched by the experience. A Lone Bellow gig has real fervour and intensity and the utter conviction in the performance of the music gives everybody present a sense of place in the grand scheme of things. We are somehow invited to share in the knowledge that our lives are bound by the same Universal glue.

To define the music of Lone Bellow as entirely celebratory is to miss the point that there are deeper emotions behind the words that fuel the revivalist, soulful performance of Zach Williams on lead vocals and acoustic/electric guitar; Kanene Donehey Pipkin on mandolin, bass, keyboard, vocals and Brian Elmquist on acoustic/electric guitar, vocals. The added talents of Jason Pipkin (bass and keys) and Julian Dorio (drums), provide a superbly tight base from which everybody can expand the song arrangements and Kanene switches instruments with husband Jason on a few occasions.

There are hidden layers of pain and life lessons learned behind the swell of melody and vocal harmony that leave the audience in admiration of a band that commit to a level of performance that is often breath-taking in its powerful delivery. The vocal dexterity of all three members is something to behold as they feed off the electric atmosphere and deliver fully on the art involved in creating a communal experience through the medium of music. 

The band visit all three releases, concentrating more on the latest, Walk Into A Storm, from last year. The set powers along with new heights being scaled on songs like Deeper In The Water, Green Eyes And A Heart Of Gold, Feather all the way along to the wonderful encore, Then Came The Morning. 

There are so many highlights that it seems churlish to pick out one over another, but the acoustic segment probably sums up the band ethic more than anything, with renditions of Call To War, Watch Over Us and Pink Rabbits (cover of The National song), stealing the moment, especially when the trio leave the stage and mix with the audience to sing off-mike. It is a perfect example of communal sharing and trust and a key element in the warmth shared. It was a privilege to be there.

Review and photograph by Paul McGee

Rosanne Cash @ National Concert Hall, Dublin - 28th July 2018

Certain things just continue to improve with age and judging by the flawless performance by Rosanne Cash this evening, she certainly deserves honorary membership of that club. Looking resplendent in a bird embroidered Nudie influenced blazer (a Stella Mc Cartney creation for the fashion inquisitive among you!) , Cash and her husband John Leventhal enthralled the large attendance at the National Concert Hall tonight with a one and three-quarter hour set that hardly had a weak moment, vocal or chord (to be honest Leventhal does strike one bum note during Forty Shades of Green to both his and his wife’s amusement!). Cash and her husband are regular visitors to Ireland and she refers fondly to her last appearance, when she was invited to take part in a music spectacular at The Bord Gais Theatre in March 2016 to commemorate the 1916 Easter Rising Centenary

With the acoustics at the Concert Hall more sympathetic to acoustic rather than more electric arrangements, both Cash’s stunning vocals and Leventhal’s wonderful guitar work are crystal clear throughout her well-chosen set, which in the main delves into material from her more recent albums, but also includes a few covers and a couple of songs from her early career. She is also due to release her next album in October titled She Remembers Everything and if the song she performed from the album, titled Rabbit Hole, is an indication of what to expect, it will match the lofty standard of her previous three releases. 

Her 2014 album The River and The Thread, was inspired both personally and historically by the Mississippi Delta. Arguably a career best, she opens the show with three selections from the album. First up is Modern Blue, a song of travel and love, written in both Memphis and Barcelona.The Sunken Lands,swiftly follows, written about an area in Arkansas which sank during the earthquake of 1811. She continues with material from the same album by including A Feather’s Not A Bird, inspired Cash tells us, by a visit to her friend Natalie Chanin’s fabric studio in Florence Alabama. While Chanin was threading her needle, she commented ‘You have to love the needle’, immediately giving Cash the idea for the song title.  

While travelling on tour with Johnny Cash in the early 70’s - Rosanne was immersed in rock music at the time – her father was astounded that his daughter was unaware of what he considered, classic American songs. He spent some time listing for her, what he called, 100 Essential Country Songs.  Rosanne’s 2009 album The List, featured songs from his recommendations and she performs both Long Black Veil and Sea of Heartbreak (dedicated to her young niece in the audience). Commenting that she duets with Bruce Springsteen on the album track, she joked that in the absence of Bruce her husband will have to do the honours tonight. Bury Me Under The Weeping Willow from the same album also features later in the set. Blue Moon With Heartacheis is introduced as ‘a song older than my youngest daughter,’ taken from her 1981 Seven Year Itch album. The Bobby Gentry classic Ode To Billie Joe is next, another Delta inspired classic, with Cash recalling how her husband and her visited Tallahatchie Bridge during their travels through the Delta researching for her 2014 album and the haunting feeling the location brought about. A further cover follows, at Leventhal’s insistence Rosanne jokes, with Leventhal switching to piano for an eloquent adaptation of Bob Dylan’s Farewell Angelina.

‘Do you actually think I wasn’t going to play this song’ is the introduction to Forty Shades of Green, following Cash recounting how she visited a second-hand bookshop in Dublin a few years back when she was playing a show at Vicar Street. High on a shelf was a large book titled History of Irish Music. Taking it from the shelf and dusting it down, she randomly opened a page in the book and the title of the chapter was, of course, Johnny Cash. Recalling the tale and singing the song proves particularly emotive for her and she is visibly tearful after the last chord.

Introducing WhenThe Master Calls The Roll, written by John Leventhal and her ex-husband Rodney Crowell, she explains that she begged them to allow her to record it, only to be told ‘it was written for Emmylou’. A few months passed without the song being recorded so she decided to bite the bullet and ask Crowell to rewrite the lyrics with her, which he agreed to do. It’s a beautiful love ballad inspired by Cash’s discovery that she had ancestors on both sides of the Civil War and her delivery is one of many highlights this evening. Seven Year Ache closes the show, remarkably written almost four decades ago before a standing ovation brings the pair back on stage for two encores. First up is Tennessee Flat Top Box which again showcases Leventhal’s exceptional guitar skills before she closes the show to a further standing ovation with 500 Milesfrom The List. 

It’s not an overstatement to describe Rosanne Cash as music royalty. Her song writing ability and vocals aside, she is a spokesperson for artists rights in the industry digital age, a long-time supporter of many charitable organisations, a decorated author and holds a doctorate degree from the Berklee College of Music. That aside, this evenings performance is further evidence that, like a vintage wine, she continues to improve with age. A night to remember.

Review and (sneaky) photo by Declan Culliton

Birds Of Chicago@ Whelan’s - 28th July & @ Cleeres, Kilkenny - 29th July

"Most people in my country are good people, we travel every State and see kindness in them all," J.T.Nero informs us, to great applause, leading in to American Flowers,the title track of Birds of Chicago EP recorded in 2017. (I have seen American flowers all across this land, from the banks of the Shenandoah, along the Rio Grande, do not fear the winter blowing in the hearts of men, I have seen American flowers they will bloom again).

It’s the final chorus from the final song performed by Birds of Chicago and as had been the case on their last visit to Ireland barely twelve weeks ago, with the audience joining in, the words echo around the room. It follows what has been an extraordinary evening’s entertainment which kicked off two and a half hours previously with the support slot by The Remedy Club.

Regardless of their talents, performers can only do so much to create the perfect show. The additional ingredient to add that spark to a gig, is an engaging and appreciative audience and tonight certainly hit a high spot both on and off stage. A large crowd was already in attendance when The Remedy Club opened their slot with I Miss You, the opening track from their super album Legends, Lovers & Lost Causes. Long time favourites of Lonesome Highway, the husband and wife duo Aileen Mythen and KJ McEvoy’s performances over the past twelve months have gone from strength to strength and their self-assurance this evening was evident, no doubt buoyed by the positive reaction of the audience from the outset. After four songs from their forty minute set a call came from the back of the room of ‘who are you?’ Their set was going down so well that they neglected to introduce themselves from stage!  Performing as a duo, they have the ability to create a ‘band’ effect, with Mc Evoys splendid guitar playing complimented Mythen’s rhythmic percussion. However, their tour de force are their harmonies, Mythen’s ability to vary her vocal range from honey sweet to seductive blues competing with Mc Evoy’s baritone crooning.

Concentrating on material from the album they play When Tom Waits Up (the ‘legends’ in the album title inspired by Tom Waits we’re told), a rocking Big Ol’ Fancy, the more mellow Last Song. They encore with a killer delivery of the bluesy Image On My Retina (a song recorded in their previous life as B & the Honeyboy), highlighting this accomplished duo’s ability to rock out with belting vocals and a ripping guitar solo. I can hardly  recall the last occasion I witnessed a support act get as rapturous a reception at Whelan’s, further evidence that all the Remedy Club require is exposure, to swiftly move on to a much higher level in the music industry. Equally impressive is the sight of Birds of Chicago’s Allison Russell dancing in the corner to their set, accompanied by her husband J.T.Nero, a lovely touch. 

Unlike their performances at Kilkenny Roots in May, where they included bass and drums in their line up, this time around Allison Russell and J.T.Nero are joined on stage by Steve Dawson, one of the most accomplished and sought after guitar players presently residing in Nashville. A producer, session player and recording artist in his own right, coincidentally Lonesome Highway had posted a review of his latest album a few days previously. Having only arrived from Nashville to Whelan’s in time for the sound check a few hours earlier, due to a re-scheduled flight and despite the jet lag, he opens The Birds of Chicago set onstage alone, effecting some gorgeous swirling slide guitar, to be eventually joined on stage by Russell for a haunting delivery of She Moved Through The Fair. What follows is a one hour and forty minutes set which revisits their earlier albums, includes material from their recent release Love in Wartime and a recently written song. Alright, Alright, from their self-titled debut album is introduced by Nero as the most hopeful song they’ve ever written andFlyingDreamsfrom the same album is described as "a song written in the innocent summer of 2012."

Notwithstanding the heavenly vocal contributions by both Russell and Nero, the musicianship on display is breath-taking, with Russell playing banjo, clarinet and  ukulele, Nero on acoustic guitar and Dawson effortlessly switching from acoustic to electric guitar. A recently written song for their four year old daughter titled You Are Not Alone is introduced by Russell, adding how much she is missing her already. Nero adds the male perspective by retorting "much and all as I adore my daughter, I’m looking forward to my coffee in the morning and wine in the late afternoon, undisturbed and accompanied by reading something or other!" Canonball is mooted by Nero as a song written about the positives and negatives of living in Canada before they perform two songs from the current album, Superlover (adorned by splendid slide guitar by Dawson) and the title track Love In Wartime.Nero then leaves the stage to allow the remaining duo deliver Stardust, with choruses sung by Russell in both English and French. Inspired by her Scottish grandmother, Barley is delivered solo by Russell with hand claps from the audience before they end the set with Real Midnight, a request from the floor and Suger Dumplin’. A further encore was demanded and swiftly delivered with the aforementioned American Flowers. A completely different set list than their Kilkenny Gigs, the three piece more acoustic arrangement is tailored made for the more intimate setting of the Upstairs Room at Whelan’s where, as usual, the sound quality is crystal clear. 

Having just arrived from The States mid-morning, whisked out to RTE for an appearance on The Ray Darcy Show and straight to Whelan’s for the show, they apologised for any jet lag and sleep deprivation induced verbal nonsense that they indulged in. No apologies required, from the standing ovations and the general feel-good atmosphere at the gig, the evening could only be described as a triumph.

Review and photography by Declan Culliton

Birds of Chicago. Cleere’s Bar, Kilkenny. Saturday 28^thJuly 2018.

Continuing on their short Irish tour, these beautiful Birds flew from Dublin down the motorway to the medieval city of Kilkenny to land at that infamous venue that is Cleere’s Bar. Always guaranteed a great welcome, the trio of musicians begin their stirring set with Real Midnight, ironically the song that was an audience request late into the Dublin show on the night before…

The atmosphere really started to take off as the experience of seeing this gifted band in a live setting took hold of the appreciative crowd. The new release, Love In Wartime, is given plenty of focus with Superlover, Roll Away, Baton Rouge and the title track itself going down a storm as JT Nero on acoustic guitar and Steve Dawson on acoustic and electric guitars weave around the irrepressible stage performance and talent of Allison Russell. Her passionate and soulful vocal delivery is something to behold in such an intimate setting and she sings with utter conviction in delivering a performance that includes her excellent musicianship on banjo, ukulele and clarinet.

Flying Dreams and Cannonball are both typical of the celebratory nature of the sounds and music on display and when the band bring things down a notch we are treated to You Are Not Alone, a song written for JT and Alison’s daughter. Barley is another superb song that shows the power and tenderness in Allison’s vocals as she builds the tempo with audience handclaps and brings everything to a climax that resembles something akin to a revivalist prayer meeting. 

The delicate Etoile d’Amour (Stardust) is a lovely performance between Steve and Allison as they tease out the melody and dynamic of the song. Ending the set with American Flowers has become something of a favourite these days and the audience participation in the chorus is very much in keeping with the spirit of fellowship that has been a key component of the warmth generated by this night. Birds of Chicago are sublime in their performance and their live show is quite intoxicating

Kilkenny review by Paul McGee

Static Roots 13th & 14th July 2018 – More Than Just A Music Festival

Oberhausen in the Ruhr area of Germany was once again the location for the third Static Roots Festival, promoted by Dietmar Leibeche with more than a little help from his wife Marion and his team of enthusiastic helpers. Held over two days the Festival featured four acts playing on Friday evening and a further seven on Saturday. 

To kick the festival off and for the benefit of those arriving early on the Friday, a StaticRuhrTour had been arranged by Marion and tour guide Robert Gerlings. Taking approximately four hours the tour included a short hike to the spectacular mountain dump Halde Rheinelbe. With glorious blue skies and temperatures reaching the late twenty degrees the hike terminated at a local Budchen (corner shop) for refreshments before a short trip to the World Cultural Heritage site of Zeche Zollverein in Essen, considered to be the most historical coal mine in Germany.

A twenty-minute train trip back to Oberhausen and a quick freshen up at the hotel and it was time to take the short walk to Zentrum Alterberg where the festival was hosted for the second year in succession. With a medium sized indoor auditorium and a tree lined outdoor area for refreshments between acts, it’s the perfect setting to enjoy the music, chill out and mingle with fellow punters and artists. Of note also was the price levels of both the drinks and food, a fraction of what's normally charged at other festivals.

The event could not be any more inviting for Lonesome Highway as the promoter, using a similar philosophy as ourselves, seeks to champion emerging and under the radar artists when selecting his acts.  His bill for 2018 was inspired, offering acts from all the Roots genre with Austrian honky tonkers Prinz Grizzley & His Beargaroos joining acts such as the UK supergroup Bennett Wilson Poole, our own Kilkenny supergroup The Midnight Union Band, Canadian rocker Terra Lightfoot, South Carolina psychedelic folk rockers SUSTO solo front man Justin Osbourne. Wolfe Island Records were well represented by indie folk rockers The Stephen Stanley Band and the stunning young Hadley McCall Thackston, who was originally to perform as backing vocalist with The Stephen Stanley Band but was also given her own showcase slot when Donald Byron Wheatley had to postpone at short notice. Nashville residents Hannah Aldridge, Charley Whitten, Anthony Da Costa and Cordovas completed the line-up.

Memphis born but currently residing in Nashville, Hannah Aldridge must qualify as one of the hardest working touring singer songwriter, regularly crossing the pond to play solo gigs in support of her two albums. The daughter of Nashville Country songwriter Walt Aldridge,she opened the festival with a fifty-minute slot that featured material from both albums including her ‘country cheating’ song Old Ghost, Goldrush and (‘the song I wrote after the worst gig I played in my life’) Burning Down Birmingham, which included audience participation to sing the chorus for her. Always approachable, she hung around side stage for the other evening’s acts, enthusiastically engaging with anyone that approached her for a chat.

Cranking the sound up a notch or two were The Stephen Stanley Band that followed. Previously the frontman with The Lowest Of Low, Stephen Stanley and his band raced through a set containing material from their Jimmy The Moon debut album in the main. Guesting in the band were our own drumming maestro Michael Mormecha (Malojian) and Ger Moloney on accordion. A glorious mix of jangling guitars, crisp keyboards, thumping bass and drums and some killer backing vocals from label mate Hadley Mc Call Thackston. Early REM and The Jayhawks  came to mind. Highlights included Things I Wish I’d Never Seen, Troubadour's Song and their closer Jimmy And The Moon. 

Having modelled his festival on many of the features that work at Kilkenny Roots and often seeking advice from our late friend Willie Meighan, the set by The Midnight Union Band was particularly emotive given Willie’s untimely passing last November.  Playing a larger stage with a superb lighting system and equally impressive sound provided them with a platform not often available to them. Anything but fazed, they played a stormer lead by frontman Shane Joyce, Peter Flynn on keys, Brian McGrath on bass, Cian Doolan on guitar and John Wallace on drums. They treated their travelling fan club to a trawl through their most popular anthems with I’m Your Leader, Moon, But I Am The Night and Behind The Truth all getting an airing. Their set was dedicated to Willie Meighan and poignantly they finished with two songs so close to his heart, Rainy Night In Soho and The Smiths classic There Is A Light.

Canadian roots rocker Terra Lightfoot was the perfect closing act on Friday evening. A powerful vocalist and equally impressive guitar player, her dynamic set was bluesy, rocky, rowdy and badass with a vibe that nodded in the direction of Chrissie Hynde one minute and P.J. Harvey the next. One-minute prowling menacingly around stage, the next minute on her knees effortlessly ripping out blues riffs from her Gibson SG alongside her bass player. Highlights that rocked the room from wall to wall were Paradise and Pinball King, straight down the middle urban blues delivered by her three-piece combo.

Recently married, Justin Osbourne has been on a Euro solo tour with his wife over the past month. His band SUSTO’s album & I'm Fine Today featured in our albums of the year in 2017 with a sound that can only be described as psychedelic Americana, combining layers of instrumentation and vocals across some breath-taking songs. It was interesting witnessing him play stripped down versions of songs such as Hard Drugs, Cosmic Cowboy, Waves and Gay In The South, together with some really impressive new material. His closing song Jah Werx , about community and living in the moment, perfectly reflected the ambience both on and off stage. Given the opening slot at lunchtime on Saturday, he had the audience wooed two songs in with material delivered by vocals that ranged from whispers to whiskey hoarse. Not easy to perform solo for fifty minutes as an opening act but his set was met by pin drop silence from start to finish. Observing how well his albums were moving off the merc desk there’s no doubt he won over a lot of new admirers and rightly so.

Having previously seen Anthony Da Costa perform with artists such as Aoife O’Donovan and Sarah Jarosz and being unfamiliar with his back catalogue, I had been expecting a fairly low-key affair. His guitar work has always been exceptional and he’s always in demand as a session player but his set which mixed power pop, blues and straight down the middle rock was a revelation.  From New York but currently working in Nashville his relaxed and laid-back stage banter contradicted his intense and technically note perfect guitar playing. Using Danish band The Sentimentals as his backing musicians was a masterstroke, the combined guitar playing of Da Costa and M.C.Hansen was sublime and Nikolaj Wolf on bass and Jacob Chano on drums provided the perfect rhythm section. Sins Of Your Father, Thanksgiving, Neighbours and Anywhere But Here stood out in his fifty-minute set. 

Anyone who attended Andrew Comb’s shows in Ireland last year could not have missed his bass player. Standing well over six feet tall and with a long mane of blond hair Charlie Whitten is a striking young man. From North Carolina but currently living in East Nashville he is very much part of the burgeoning East Nashville music community and released his debut EP Playwright in 2017. Performing songs from the album solo accompanied only by his electric guitar, his set was the perfect mid-afternoon laid back buzz. Casual and relaxed with engaging stage banter, Whitten melted a lot of young lady’s hearts during his slot.

Coincidently, Hadley McCall Thackston’s debut album arrived to be reviewed at Lonesome Highway last week, coinciding with her upcoming performances as backing vocalist with The Stephen Stanley Band both in Europe and Ireland. The album immediately struck a chord and had been practically on rotation in my player all week, so when she was rewarded with her own set in the absence of Donald Wheatly I immediately looked forward to seeing her perform live. Her backing band was The Stephen Stanley Band, the common denominator being that Hugh Christopher Brown, who produced and played on her album. Kilkenny accordion virtuoso Ger Moloney was invited to join the backing band at short notice given that he contributed to her album. With only two opportunities to rehearse prior to her slot and it being her first show in Europe she opened by telling us that she was more nervous than she'd ever been on stage. However, one song in and the nerves dissipated given the audience’s positive reaction. Her beautifully fragile voice absolutely mirrors the content of her song writing and she possesses the gift of sounding like June Carter on songs like Wallace’s Song (Sage Bush) and Amy Winehouse on Devil Or Angel and No.  After performing the album in its entirety, she finished with two well chosen and well delivered covers Ode To Billie Joe and Brass In Pocket.

Bennett Wilson Poole played two sell out shows at Kilkenny Roots in May and there was a homecoming atmosphere in the air with the very large numbers that also attend that festival. I’m unsure whether the air of anticipation and expectation was stronger in the audience or the band as Robin Bennett, Danny Wilson and Tony Poole seemed to be looking forward to their slot every bit as much as the rest of us. Performing as a three piece in Kilkenny, on this occasion they added a bass player and drummer to their line-up. Remarkably, even though their self-titled album was only released earlier this year, the songs already play out as anthems, with the chorus from Hate Won't Win, Wilson General Store and Ask Me Anything all being sung loudly from the floor. Three and four-part harmonies, shared vocals, wicked playing by all the band, the biggest on-stage smiles of the festival and in particular the king of the Rickenbacker Mr. Tony Poole, all combined to bring the house down.

Prinz Grizzley and his Beargaroos are no strangers to Lonesome Highway having played a number of sets at Kilkenny Roots earlier in the year. It was business as usual as they sailed through a set of headachers and heartbreakers, with Chris Comper soaring vocals and polished guitar playing blending perfectly with the silky pedal steel by Johannes Bischof.  Wide Open Country, Fiery Eye’s, Mountains Milk, Irene and I Can See Darkness all even surpassed the studio versions on their debut album Come On In. Sweet honky tonkin’ with a side of knockout blues courtesy of two Austrians and two Swiss (Claude Meier on bass and Andreas Wettstein on drums), these guys have progressed over the past eighteen months from a bar band to an act worthy to grace any festival stage.

One look at Cordovas and you get the picture. Dietmar had been working on getting these dudes booked to play for months and they were the perfect curtain closer for the festival. Facial hair of Biblical proportions, head to toe denim and mops that haven't encountered a comb or barber in yonks, they could be The Allman Brothers circa 1972 and they have a sound to match.  With a band that boasts four lead vocalists you’d expect some God gifted harmonies and they certainly delivered on that front, but what also hit the biggest spot was their musicianship to match. All I Found, Southern Rain and numerous Grateful Dead type instrumental jams went down a storm before they closed their set and the festival, accompanied by Anthony Da Costa and Charlie Whitton on stage, with a blistering version of Neil Young’s Down By The River.

Dietmar had again invited Jeff Robson from Canada to act as MC and credit to him for his knowledge of the bands and informative stage announcements. With eleven acts to soundcheck and a number of bands having multi vocalists the quality of the sound throughout was also exceptional. Hats off to Alex Shulte who got it spot on with every act.

I'm not sure that any other festival ends up with a sing song out in the open, with both musicians who played the festival and punters alike taking turns to belt out songs from all ends of the spectrum, some delivered to perfection and some bordering on the unlistenable but the perfect finale to a fun filled couple of days.

A final word again about the promoter Dietmar. His one objective is to bring people together to enjoy quality music in an environment where artists and punters mix, share a drink and good food, talk music and put aside the worries of their worlds for a few short days. He achieved that and much more at what we accurately described last year as a ‘’boutique festival’’. It happens all over again on July 12th & 13th of 2019. Tell your friends, but not too many mind, this is one festival we do not want to get too big!

 Review and photography by Declan Culliton

Ags Connolly @ The Cobblestone, Dublin - Friday 13th July

Making his first performance and visit to Dublin Ags Connelly told that he had Irish antecedents such as Sean Connolly and Patrick Connolly. His parents lived here, he explained, before he was born but he’s never been in the city before. He was here to play a few of his songs (from his two fine albums) to a few of the faithful. This was a stripped back performance that took the songs back to their roots with just Connolly’s powerful voice and guitar. This gave the words even more prominence and show that he is a writer of compelling country songs that are very much as true to its real spirit as if he had been born and raised in his spiritual home of Austin, Texas rather than Oxfordshire, England. Mind you his accent soon gives him away even if the beard and Johnny Paycheck ball cap suggested differently!

Ags delivered an 18 song set that included A Good Memory For Pain, I’m Not Someone You Want To Know, The Dim And Distant Past, Trusty Companion. The latter he mentioned had been requested at both funerals and weddings and caused him to wonder if those requesting the song had actually listened to the lyrics. How About Now, the album title song was one he hadn’t played in a long time but reckoned he should. It was, he mused, his father’s favourite song of his. Also from that album he played When Country Was Proud - a song that the magazine Country Music People had selected as one of the best country songs of recent times. However he felt that as it was a sentiment that was a fairly common theme with songwriters these days that may he shouldn’t have.  He also played the song he’d written about on of his heroes I Saw James Hand. He said there was a live version of the song on YouTube where James Hand was in the venue when he played it (a second time as it happens as Hand had just walked in). From the latest album Nothin’ Unexpected he included such titles as I Hope You’re Unhappy (song brimming with positivity he laughed), Slow Burner, When The Loner Gets Lonely, Neon Jail, I Should Have Closed The Book. From that album he also sang Loudon Wainwright 111’s I Suppose. Wainwright he noted was perhaps his favourite songwriter and that many of his songs easily fit into the country genre.

Other songs, other than his own, that he included were Johnny Paycheck’s (another hero) Slide Off Your Satin Sheets. He also followed his James Hand song with one of Hand’s Over There That’s Frank. He was also road testing a couple of new songs and he hoped would be on his next album which showed that he has not lost his muse and good material. Throughout he was in good humour, something that was, perhaps, at odds with some of the lyrical content of his songs, but it made for an enjoyable evening of song and story that is rooted in these shores but translatable to any location and lover of country music as it was and should be. As Ags said "thank you folks" - rather, thank you Ags.

Review and Photograph by Stephen Rapid

Lindi Ortega @ The Grand Social - Dublin, June 2nd 2018

Returning to the Dublin stage the first time in a number of years Lindi Ortega said that in the future she hoped to spend more time in Ireland rather than passing through for a single show. She has an Irish mother and a Mexican father and felt an affiliation with the country. She had just arrived here and was still suffering from jet lag but that didn’t in any way take away from a solid and memorable performance. She was accompanied by her friend and long time live lead guitarist “Champagne” James Robertson and drummer Sly Juhas. The duo provided an interesting and effective bedrock over which the revived Ortega gave a strong and renewed vocal delivery. The lack of a bass player wasn’t readily noticeable as the bottom end came. largely, from the bass drum. She explained that she had considered quitting the music business, finding it heard got make headway in the current crossover-pop climate.

Living in Nashville had exposed her to some good times and friends but she was up against a corporate commercial bro-country ethos that seem to have little time for women artists and less for her. This experience was recalled in the song Tin Star. Through the 16 song set she covered songs from various stages of her career with, naturally, t he bulk of choices from her recently released album Liberty. Some of the album’s songs included ’Til My Dyin’ Day, The Comeback Kid, Lovers In Love (which she describes as a very rare bone-fide love song), though Pablo was another such theme inspired, she said, by her recent marriage (and also Antonio Banderas - especially in the film Desperado but not to tell her husband). The songs from Liberty also included the title track and her Spanish language version of Violeta Parra’s Gracias A La Vida -  singing in the languages something that she was nervous about doing until it seemed the perfect closer for this song cycle of redemption and for people travelling the “stormy seas of life,” The overriding theme of this album.  

She also quipped how she had mentioned to Roberston that she wanted to include a certain death song in the set and she laughingly recalled that he had asked which one as she had at least 10 such songs to choose from. Old favourites like Cigarettes And Truckstops also got an airing. That song was written about wishing she could be in LA with her boyfriend of the time but ended up being a song rather than the actuality of doing just that! Bluebird and Ashes were other well received tracks from her previous releases.

Though Ortega is undoubtably the star of the show it was obvious that the dexterous and exploratory guitar playing of Robertson was a draw in it’s own right. Something akin to the sonic stylings of fellow Canadian Daniel Lanois. He rarely played chords rather added lines, riffs and sounds that enhanced the mood of the songs. Likewise the drums were not confined to a simple, solid beat but rather explored the possibilities of the full kit. Ortega herself added rhythm guitar on occasion on her newly acquired white Fender acoustic. Most of the songs she performed however just holding the microphone and singing the best we’d heard her to date.Overall, then, this was a reaffirmation of Ortega’s talent and determination to get herself and her music across. Both were done to satisfaction from both sides of the stage.

Review by Stephen Rapid  Photography by Kaethe Burt O'Dea

Peter Bruntnell @ Cleere’s - Kilkenny 31st May 2018

A regular visitor to Kilkenny, Peter Bruntnell has been performing in The Marble City solo, with full bands, duets and trios over many years, his most recent being a whistle stop tour with his full band at The Roots Festival in 2017 where he played four times over that weekend, all to adoring crowds it has to be said.

Tonight’s show is advertised as a trio. Joining him on stage are Iain Sloan of Wynntown Marshals fame who plays pedal steel, electric guitar – beautifully it has to be said - and backing vocals and Danny Wilson on upright bass, whose playing is equally impressive. It’s a format that Bruntnell has toured previously with in the U.K. as evidenced by their note perfect delivery throughout. However, the three-piece format increases to four before the end of their opening forty-minute set when local accordion virtuoso Ger Moloney joins them on stage and four became five towards the end of the evening when the man with coolest Gretsch guitars Clive Barnes, also makes an appearance. 

This evenings setlist reflects the stage format. Whereas his last gigs with his full band featured some of the more rockier songs in his vast back catalogue, this evening concentrates on some of his more tranquil material, ideally suited to the semi acoustic set up. His opening set includes Clothes of Winter, Sea of Japan, Bluebeard, Domestico and John, all from his excellent 2008 album Peter And The Murder Of Crows, and all impeccably suited to the bands composition. False Start and one of his most popular songs Cold Water Swimming, all from the same album are also included in his second set. In fact, before his band members make their way back to the stage for this second set we are even given a master class in Bruntnell’s ability to perform solo when he launches into the gorgeous Caroline, the closing track from his latest album Nos Da Comrade. End Of The World and Long Way From Home also from the current album, both feature when Sloan and Williams return to the stage.

The Cats Laugh Comedy Festival is about to kick off in Kilkenny and the laid-back stage banter this evening includes many comical moments of its own, from comments about musicians being financially supported by their wives to the somewhat portly Sloan commenting as the slimmer Clive Barnes takes the stage ‘he’s a handsome lad, if you stretched me out I’d look like that!’.

The show allows has its more sombre moments with two dedications to the late Willie Meighan, including the crowd favourite By The Time My Head Gets To Phoenix,enhanced by cracking guitar playing by Barnes and accordion by Moloney and the superb closer Have You Seen That Girl Again.

It’s difficult to even consider a particular highlight in such an outstanding performance but his delivery of the delightful Widows Walk,with haunting pedal steel by Sloan, is simply spine chilling and a wonderful memory from a special night.

Credit must also go to local musician and sound engineer Peter Flynn whose contribution on sound and the pin drop silence from the floor all added to a quite stunning evenings entertainment. 

Another Peter Bruntnell show and another standing ovation for one of the finest artists to emerge from the U.K. music industry in decades. Why he isn’t a household name is beyond comprehension, the plus side being that we get to see him appear in smaller venues on his regular trips to Ireland. 

Review and photography by Declan Culliton

Various Artists @ Pappy & Harriets - April 2018

Pappy and Harriets is a restaurant, bar and music venue founded in 1982 which stands at a site once called the Cantina It is located in Pioneertown which was built as a film set for westerns back in in the 1940’s in San Bernardino County in California. It was used as a backdrop in over 50 TV shows and films. For a time the venue was closely associated with the LA alt. and traditional country music scene. These days however the acts are much more diverse and Paul McCartney, Robert Plant, Eagles of Death Metal and the Queens of the Stone Age have all played in the venue.  

Though I have known about the venue for some considerable have never had the opportunity to visit. On a recent trip to the area it was a must visit. The first night we made the trip the acts playing were The Banditos, Lillie Mae and Tyler Childers. A large area of the venue is take up with those who have booked a reservation table to eat, drink and enjoy the show. As in many such venues the stage is not raised from the floor and so once a number of punters gather in front of the stage it’s pretty much impossible to see anything other than on the monitor that hangs in the restaurant. The sound however is good.

The Banditos to these ears sound like a Southern rock version of the Janis Joplin band. Singer Mary Beth Richardson is upfront while the boys boogie behind her. Reviews have also mentioned ZZ Top and the Alabama Shakes so that should give you an idea of the overall feel. Not exactly my thing but effective and well received. 

Next up was a short set from Lillie Mae. The four piece band included her brother Frank and her sister Scarlett on great Telecaster and mandolin respectively. They were joined by a bassist (Tanner Jacobson) and ran through some songs from the debut album plus a couple of new numbers. The half hour set was a little too short really get fully into the band.

Tyler Childers and band were the headlines (Mae was touring with him) and its interesting to see how quickly Childers has gained fans and headline status. His album was produced by Sturgill Simpson and it was obviously well known with the fans there who cheered and recognised many of the songs. Indeed the slightest mention of any relation to drink and/or drugs garnered a huge cheer. This was Americana and in the singer/songwriter tradition with the band (including the night’s only steel player) able to rock out as the song dictated. Childers spoke between songs telling stories and anecdotes but due to his accent and the rowdy audience it was often difficult from our position to make out what was being said. Whatever it was well received and he had the audience up dancing by the end of the set. An act to catch if they come your way.

The next night was one I was looking forward to as the opening act was Casey James Prestwood and The Burning Angels. A traditional country act whose album Born Too Latewas one of the year’s best. Prestwood has released several album in the Bakersfield/ LA Country Honky Tonk sound although the band are from Denver, Colorado. The band arrived onstage decked out in Manuel (or similar) suits and opened the evening with a set of original songs and well-chosen the covers. longtime bassist and drummer Jeff Martin and Kevin Finn were a spot on rhythm section with guitarist Andy Hamilton and steel player Dave Barker filling out the sound with all the right licks. Casey James Prestwood has the requited nasal twang to his voice and is an animated frontman who gives a good all round performance. At the end if the set they were joined by the night’s headliner Leslie Stevens for a couple of songs including a spirited Ooh, Las Vegas.

Leslie Stevens and her all woman band were up next, although headlining that took the middle slot. They were joined by a guest steel player who played on a couple of tracks with the band. A number of additional guests joined the band on vocals. They did an acapella version of Neil Young’s Helpless as well as such songs as Depression, Can I Sleep, Everybody and Old Times. There was a strong vocal female presence in the audience for the band who largely dissipated when they finished playing. A varied set that would be hard to place genre wise but one that was well received by the audience.

The final act was a singer/songwriter Isaac Opatz. He played with a guitarist, bassist and drummer and the sound was again more like indie rock than anything vaguely roots but what they did they did with an enjoyable quirkiness. The set included an enjoyable if slightly off the wall version of Warren Zevon’s Carmelita. The audience had noticeably thined out by this time andf we also need to head out so we made our exit for a long drive back to our base.

Review by Stephen Rapid  Photography by Kaethe Burt O'Dea

Ten Stand Out Performances and Songs @ Kilkenny Roots 2018

Rachel Baiman & Molly Tuttle Wicked Spell (1)

Perfection personified both vocally and instrumentally by these exceptional young artists. Wicked Spell from Baiman’s Shame album was one of many peaks but anything from their setlist could have been highlighted. Faultless!

Birds of Chicago Love In Wartime (2)

The title track from their recently released album that will certainly feature in our Best of 2018. Gorgeous vocals courtesy of  Allie and J.T. and the first act to sell out both their shows at Roots. For anyone that missed their Kilkenny gigs the good news is they are back in Ireland in July for more of the same!

The Blasters One Bad Stud (3)

Anyone even thinking for one minute that these guys would be only going through the motions were left in no doubt for the word go. Vocally Phil Alvin sounded no different than decades back, rhythm section of bassist Jon Bazz and drummer Bill Bateman set down a killer groove throughout and Keith Wyatt got the Lonesome Highway nod as guitarist of the festival with his blistering solo on their closing number One Bad Stud! 

(left to right 1,2,3)

The Sleepwalkers Wichita Lineman (4)

It felt like being transported from Kytelers in Kilkenny to Robert’s Western World on Broadway in Nashville for this master class in Western Swing and Country Classics by our very own recently formed supergroup of David Murphy, Clare Sands, Kevin O’Shea, Cian Heffernan and Declan O’Shea.  A rendition of the classic Jimmy Webb song that Glen Campbell would have been proud of.

Mary Gauthier Soldiering On (5)

A performance that even surpassed her normal excellence with songs and tales that both moved and enthralled and appeared to be savoured equally by the artist and audience. Material from her recent album Rifles & Rosary Beads was outstanding, in particular this opening track from that album.

Bennett Wilson Poole Ask Me Anything (6)

A performance that fully lived up to expectations from these three amigos with the collective adroitness to create lyrically astute songs with hooks and rhythm that catch and reel you in on first listen, all enriched by killer jingle jangle Rickenbacker playing by the most senior of the trio. This particular song has been on Lonesome Highway’s playlist since the release of the album and they delivered it to perfection.

(left to right 4,5,6)

Prinz Grizzley and his Beargaroos Wide Open Country (7)

Austria may be better renowned for classical rather that country music but it has struck gold with these honky tonkers. One of the busiest acts of the weekend playing three sets including a double helping at the ‘wind down’ friends and promoters afternoon session at Billy Byrnes. Also voted best looking band of the festival by the large female contingent by all accounts! 

Seamus Fogarty Carlow Town (8)

Festival opener Fogarty has suddenly become a cult hero with his witty and poetic song writing. The opening act of the festival and an act much loved and encouraged by our great friend Willie Meighan. His live shows more than justify his growing fan club and his yarn of an overnight in Carlow Town with its jocular lyrics and electronic loops and beats brought the house down.

Whitney Rose You Don’t Own Me (9)

Melting heat and melting hearts at Billy Byrne’s for Whitney Rose’s first Irish dates. A throwback to late 50’s and early 60’s Nashville sound when the use of the two words pop and country in the same sentence did not send you scrambling for the pause button. Her extended version of the Lesley Gore hit from the early 60’s was stunning.

Peter Oren Throw Down (10)

The perfect lunchtime set from the affable and articulate young man with the dreamy baritone vocals and equally engaging stories and songs to match. Shades of Bill Callahan in his low fi set list that not surprisingly included most of his excellent recent album Anthropocene. Throw Downjust about shaded Canary in a Mineas the highlight of his set.

(left to right 7,8,9, 10)

Special Achievement Award

The festival offered so many musical highlights but the highpoint of the weekend was without doubt Del Day, Con Crean, Alan Treacy and Sinead Fitzgerald arriving at Cleere’s on Friday afternoon after their epic and €10,000 + fund raising cycle. Extraordinarily they did not encounter a single rain drop on their eight-day adventure.  No doubt Willie Meighan was still working his magic and looking after them. Heroes one and all and testament of how the festival has in the past - and continues to – create friendships, bonds and camaraderie way beyond our collective love of music. 

Review and photography by Declan Culliton